Read Ebook {PDF EPUB} Goodbye to Berlin by Christopher Isherwood Goodbye to Berlin by Christopher Isherwood

Total Page:16

File Type:pdf, Size:1020Kb

Read Ebook {PDF EPUB} Goodbye to Berlin by Christopher Isherwood Goodbye to Berlin by Christopher Isherwood Read Ebook {PDF EPUB} Goodbye to Berlin by Christopher Isherwood Goodbye to Berlin by Christopher Isherwood. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 6587b4c7bd4bf210 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. “Goodbye to Berlin” by Christopher Isherwood Report. Isherwood was indeed aware of the looming Nazi war, as hinted through various components in the novel. In the third narrative, the author describes beach huts, which possess swastika flags. The Nazis had also penetrated German schools by teaching young children Nazi anthems. In later sections of the novel, a riot erupts; this event is responsible for the destruction of several Jewish properties. The death of one of the most prominent Jewish personalities –Bernard Landauer – is indicative of how the situation got so dreadful. We will write a custom Report on “Goodbye to Berlin” by Christopher Isherwood specifically for you for only $16.05 $11/page. 301 certified writers online. The last novella was the most illustrative of this impending war. At one point, a communist was blinded by the Nazis. The Nazis started to collect donations from people, and they arrested and punished them for some of the most juvenile deeds. All these actions are indicative of the state of disarray and chaos that was to intensity in the Nazi war (Isherwood 300). The characters in the novel appear to be oblivious of the gathering storm and are somehow naïve about their world. Using instances from the novellas, discuss how the author successfully created such characters. In the first novella, i.e., ‘A Berlin diary,’ the kind landlady –Fraulein Shroeder – seems to have her priorities mixed up. She does not object to anything, even when people deliberately wrong her. It does not make sense when she gets angry about a teapot, but never minds when her guests ruin her property or use it for immoral acts like prostitution. This state of affairs points to the naivety of the landlady. Furthermore, she never says anything about the Nazis and their strong anti-Semitic arguments. She simply dismisses this as something akin to a comedy; to her, it is not a serious threat to the existence of the people around her. Her contentment with these extreme views is disturbing to the reader because one can see signs of danger. Fraulein does or says nothing about it. A hint of this state of ignorance and naiveté can also be seen when the narrator and Sally Bowles spot a grand parade. They are at a loss for words on what could have led to the major historical event. If they were aware of the impending danger, they should not have turned a blind eye to the National Socialist event. They preferred to bury themselves in their private lives rather than know and question such ill occurrences. In the novella “On the Reuben Island,” the author mentions a Nazi doctor who befriends Peter. Peter strongly despises anti-Semitists, yet he and the doctor are still friends. Additionally, the doctor believes that Communists do not exist. Communism should have been so obvious to him, given that his close friend Peter held those ideals. The Doctor’s ability to shrug off these facts was indicative of the state of ignorance that the people in Berlin had prior to the war (Isherwood 105). Many Jews had the opportunity of confronting the wrongs that were instated against them earlier on, but they chose to remain passive. For instance, Bernard (the head of the Landauers family) refused to take part in Leftist campaigns, yet this could have prevented the senseless killings that followed thereafter. The death threats that came to them through the mail were all dismissed. It is only after Bernard’s death that they realized how detrimental their pacifism was. In the boxing match highlighted towards the end of the book, one can see how desperately the Germans clung to their illusions. They knew that the matches were fixed but still kept betting on them. It is almost as if their desperation caused them to believe anything. The book serves as a social commentary on political and morally sensitive issues of the time. In what ways has the author of the book reflected the social values of the people in Berlin at the time when he resided in the city? The novel touches on a number of politically charged topics at the time. For instance, it is a social commentary on abortion. One of the most vivacious characters in the story-Sally Bowles- got pregnant and needed to have an abortion. Isherwood and the kind landlady made an arrangement for her abortion, albeit illegally. This is indicative of the fact that abortions were not allowed, a fact that seems to contradict Nazi Germany. Here was a government that made it illegal to abort but did not provide the economic and social support needed to raise children properly. The stories also comment on the issue of sexuality through the relationship between Otto and Peter. These two young men are not just concerned about their relationship but are affected by the forces prevalent in their society. It is a known fact that the Nazis were unsympathetic towards homosexuals. Consequently, gay couples needed to hide their affections. This obviously created tension between them, as seen through Otto and Peter’s interactions. Otto was overly protective of Peter and sometimes treated him cruelly. When Peter was pushed to the wall and opted to leave, Otto missed him tremendously. The two had a love-hate relationship that was symptomatic of the imposing anti-gay sentiments held by society. One can also add that the lack of acceptance of homosexuals in Germany also caused a number of people to struggle with their sexual identity. Otto is involved with Peter, a man, but is later depicted as a womanizer. This was someone who was uncertain of his sexual persona. Work Cited. Isherwood Christopher. Goodbye to Berlin . London: Hogarth Press 1939. Print. Quotes from Goodbye to Berlin. “I am a camera with its shutter open, quite passive, recording, not thinking. Recording the man shaving at the window opposite and the woman in the kimono washing her hair. Some day, all this will have to be developed, carefully printed, fixed.” ― Christopher Isherwood, quote from Goodbye to Berlin. “But seriously, I believe I'm a sort of Ideal Woman, if you know what I mean. I'm the sort of woman who can take men away from their wives, but I could never keep anybody for long. And that's because I'm the type which every man imagines he wants, until he gets me; and then he finds he doesn't really, after all.” ― Christopher Isherwood, quote from Goodbye to Berlin. “. I have had an unpleasant feeling, such as one has in a dream, that I myself do not exist.” ― Christopher Isherwood, quote from Goodbye to Berlin. “I could never keep anybody for long. And that's because I'm the type which every man imagines he wants, until he gets me; and then he finds he doesn't really, after all.” ― Christopher Isherwood, quote from Goodbye to Berlin. “The really destructive feature of their relationship is its inherent quality of boredom. It is quite natural for Peter often to feel bored with Otto - they have scarecely a single interest in common - but Peter, for sentimental reasons, will never admit that this is so. When Otto, who has no such motives for pretending, says, "It's so dull here!" I invariably see Peter wince and looked pained. Yet Otto is actually far less often bored than Peter himself; he finds Peter's company genuinely amusing, and is quite glad to be with him most of the day. Often, when Otto has been chattering rubbish for an hour without stopping, I can see that Peter really longs for him to be quiet and go away. But to admit this would be, in Peter's eyes, a total defeat, so he only laughs and rubs his hands, tacitly appealing to me to support him in his pretense of finding Otto inexhaustibly delightful and funny.” ― Christopher Isherwood, quote from Goodbye to Berlin. “All women like men to be strong and decided and following out their careers. A woman wants to be motherly to a man and protect his weak side, but he must have a strong side too, which she can respect . If you ever care for a woman, I don't advise you to let her see that you've got no ambition. Otherwise she'll get to despise you.” ― Christopher Isherwood, quote from Goodbye to Berlin. “No. Even now I can't altogether believe that any of this really happened. ” ― Christopher Isherwood, quote from Goodbye to Berlin. “İkimiz de güldük. "Sally" dedim, "senin sevdiğim yanın ne biliyor musun? Bu kadar kolayca kandırılabilmen. Hiç kandırılamayan insanlar öylesine can sıkıcı ve ruhsuz oluyorlar ki!" "Beni hâlâ seviyor musun, Chris, sevgilim?" "Evet, Sally. Seni hâlâ seviyorum." Onu bir daha görmedim.
Recommended publications
  • SPYCATCHER by PETER WRIGHT with Paul Greengrass WILLIAM
    SPYCATCHER by PETER WRIGHT with Paul Greengrass WILLIAM HEINEMANN: AUSTRALIA First published in 1987 by HEINEMANN PUBLISHERS AUSTRALIA (A division of Octopus Publishing Group/Australia Pty Ltd) 85 Abinger Street, Richmond, Victoria, 3121. Copyright (c) 1987 by Peter Wright ISBN 0-85561-166-9 All Rights Reserved. No part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the prior written permission of the publisher. TO MY WIFE LOIS Prologue For years I had wondered what the last day would be like. In January 1976 after two decades in the top echelons of the British Security Service, MI5, it was time to rejoin the real world. I emerged for the final time from Euston Road tube station. The winter sun shone brightly as I made my way down Gower Street toward Trafalgar Square. Fifty yards on I turned into the unmarked entrance to an anonymous office block. Tucked between an art college and a hospital stood the unlikely headquarters of British Counterespionage. I showed my pass to the policeman standing discreetly in the reception alcove and took one of the specially programmed lifts which carry senior officers to the sixth-floor inner sanctum. I walked silently down the corridor to my room next to the Director-General's suite. The offices were quiet. Far below I could hear the rumble of tube trains carrying commuters to the West End. I unlocked my door. In front of me stood the essential tools of the intelligence officer’s trade - a desk, two telephones, one scrambled for outside calls, and to one side a large green metal safe with an oversized combination lock on the front.
    [Show full text]
  • CABARET and ANTIFASCIST AESTHETICS Steven Belletto
    CABARET AND ANTIFASCIST AESTHETICS Steven Belletto When Bob Fosse’s Cabaret debuted in 1972, critics and casual viewers alike noted that it was far from a conventional fi lm musical. “After ‘Cabaret,’ ” wrote Pauline Kael in the New Yorker , “it should be a while before per- formers once again climb hills singing or a chorus breaks into song on a hayride.” 1 One of the fi lm’s most striking features is indeed that all the music is diegetic—no one sings while taking a stroll in the rain, no one soliloquizes in rhyme. The musical numbers take place on stage in the Kit Kat Klub, which is itself located in a specifi c time and place (Berlin, 1931).2 Ambient music comes from phonographs or radios; and, in one important instance, a Hitler Youth stirs a beer-garden crowd with a propagandistic song. This directorial choice thus draws attention to the musical numbers as musical numbers in a way absent from conventional fi lm musicals, which depend on the audience’s willingness to overlook, say, why a gang mem- ber would sing his way through a street fi ght. 3 In Cabaret , by contrast, the songs announce themselves as aesthetic entities removed from—yet expli- cable by—daily life. As such, they demand attention as aesthetic objects. These musical numbers are not only commentaries on the lives of the var- ious characters, but also have a signifi cant relationship to the fi lm’s other abiding interest: the rise of fascism in the waning years of the Weimar Republic.
    [Show full text]
  • Claud Cockburn's the Week and the Anti-Nazi Intrigue That Produced
    55 Fighting Fire with Propaganda: Claud Cockburn’s The Week and the Anti-Nazi Intrigue that Produced the ‘Cliveden Set,’ 1932-1939 by An Cushner “The public nervous system may be soothed by false explanations. But unless people are encouraged to look rather more coolly and deeply into these same phenomena of espionage and terrorism, they will make no progress towards any genuine self-defense against either.” --Claud Cockburn1 “Neville Chamberlain is lunching with me on Thursday, and I hope Edward Halifax.. .Apparently the Communist rag has been full of the Halifax-Lothian-Astor plot at Cliveden. people really seem to believe it.” --Nancy Astor to Lord Lothian2 In 1932, London Times editor Geoffrey Dawson sat at the desk of his former New York and Berlin correspondent, Claud Cockbum. A grandson of Scottish Lord Heniy Cockbum, the twenty-eight year old journalist had been born in China while his father was a diplomat with the British Legation during the Boxer Rebellion. Dawson attempted to dissuade Cockbum from quitting the Times, and he was sorry to see such a promising young newsman shun his aristocratic roots in order to join with the intellectual Left. After repeatedly trying to convince his fellow Oxford alumnus to reconsider his decision to resign, Dawson finally admitted defeat and sarcastically remarked to Cockbum that “[i]t does seem rather bad luck that you of all people should go Red on us.”3 Dawson had no way of knowing how hauntingly prophetic those words would prove to be. five years later, the strongly anti-communist newspaper editor’s words would come back to haunt him with a vengeance that neither man could have likely predicted.
    [Show full text]
  • Goodbye to Berlin: Erich Kästner and Christopher Isherwood
    Journal of the Australasian Universities Language and Literature Association ISSN: 0001-2793 (Print) (Online) Journal homepage: http://www.tandfonline.com/loi/yjli19 GOODBYE TO BERLIN: ERICH KÄSTNER AND CHRISTOPHER ISHERWOOD YVONNE HOLBECHE To cite this article: YVONNE HOLBECHE (2000) GOODBYE TO BERLIN: ERICH KÄSTNER AND CHRISTOPHER ISHERWOOD, Journal of the Australasian Universities Language and Literature Association, 94:1, 35-54, DOI: 10.1179/aulla.2000.94.1.004 To link to this article: https://doi.org/10.1179/aulla.2000.94.1.004 Published online: 31 Mar 2014. Submit your article to this journal Article views: 33 Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=yjli20 GOODBYE TO BERLIN: ERICH KASTNER AND CHRISTOPHER ISHERWOOD YVONNE HOLBECHE University of Sydney In their novels Fabian (1931) and Goodbye to Berlin (1939), two writers from different European cultures, Erich Mstner and Christopher Isherwood, present fictional models of the Berlin of the final years of the Weimar Republic and, in Isherwood's case, the beginning of the Nazi era as wel1. 1 The insider Kastner—the Dresden-born, left-liberal intellectual who, before the publication ofFabian, had made his name as the author not only of a highly successful children's novel but also of acute satiric verse—had a keen insight into the symptoms of the collapse of the republic. The Englishman Isherwood, on the other hand, who had come to Berlin in 1929 principally because of the sexual freedom it offered him as a homosexual, remained an outsider in Germany,2 despite living in Berlin for over three years and enjoying a wide range of contacts with various social groups.' At first sight the authorial positions could hardly be more different.
    [Show full text]
  • Introduction
    Notes INTRODUCTION 1. Graham Greene (ed.), The Old School (London: Jonathan Cape, 1934) 7-8. (Hereafter OS.) 2. Ibid., 105, 17. 3. Graham Greene, A Sort of Life (London: Bodley Head, 1971) 72. (Hereafter SL.) 4. OS, 256. 5. George Orwell, The Road to Wigan Pier (London: Gollancz, 1937) 171. 6. OS, 8. 7. Barbara Greene, Too Late to Turn Back (London: Settle and Bendall, 1981) ix. 8. Graham Greene, Collected Essays (London: Bodley Head, 1969) 14. (Hereafter CE.) 9. Graham Greene, The Lawless Roads (London: Longmans, Green, 1939) 10. (Hereafter LR.) 10. Marie-Franc;oise Allain, The Other Man (London: Bodley Head, 1983) 25. (Hereafter OM). 11. SL, 46. 12. Ibid., 19, 18. 13. Michael Tracey, A Variety of Lives (London: Bodley Head, 1983) 4-7. 14. Peter Quennell, The Marble Foot (London: Collins, 1976) 15. 15. Claud Cockburn, Claud Cockburn Sums Up (London: Quartet, 1981) 19-21. 16. Ibid. 17. LR, 12. 18. Graham Greene, Ways of Escape (Toronto: Lester and Orpen Dennys, 1980) 62. (Hereafter WE.) 19. Graham Greene, Journey Without Maps (London: Heinemann, 1962) 11. (Hereafter JWM). 20. Christopher Isherwood, Foreword, in Edward Upward, The Railway Accident and Other Stories (Harmondsworth: Penguin, 1972) 34. 21. Virginia Woolf, 'The Leaning Tower', in The Moment and Other Essays (NY: Harcourt Brace Jovanovich, 1974) 128-54. 22. JWM, 4-10. 23. Cockburn, 21. 24. Ibid. 25. WE, 32. 26. Graham Greene, 'Analysis of a Journey', Spectator (September 27, 1935) 460. 27. Samuel Hynes, The Auden Generation (New York: Viking, 1977) 228. 28. ]WM, 87, 92. 29. Ibid., 272, 288, 278.
    [Show full text]
  • 44-Christopher Isherwood's a Single
    548 / RumeliDE Journal of Language and Literature Studies 2020.S8 (November) Christopher Isherwood’s A Single Man: A work of art produced in the afternoon of an author’s life / G. Güçlü (pp. 548-562) 44-Christopher Isherwood’s A Single Man: A work of art produced in the afternoon of an author’s life Gökben GÜÇLÜ1 APA: Güçlü, G. (2020). Christopher Isherwood’s A Single Man: A work of art produced in the afternoon of an author’s life. RumeliDE Dil ve Edebiyat Araştırmaları Dergisi, (Ö8), 548-562. DOI: 10.29000/rumelide.816962. Abstract Beginning his early literary career as an author who nurtured his fiction with personal facts and experiences, many of Christopher Isherwood’s novels focus on constructing an identity and discovering himself not only as an adult but also as an author. He is one of those unique authors whose gradual transformation from late adolescence to young and middle adulthood can be clearly observed since he portrays different stages of his life in fiction. His critically acclaimed novel A Single Man, which reflects “the afternoon of his life;” is a poetic portrayal of Isherwood’s confrontation with ageing and death anxiety. Written during the early 1960s, stormy relationship with his partner Don Bachardy, the fight against cancer of two of his close friends’ (Charles Laughton and Aldous Huxley) and his own health problems surely contributed the formation of A Single Man. The purpose of this study is to unveil how Isherwood’s midlife crisis nurtured his creativity in producing this work of fiction. From a theoretical point of view, this paper, draws from literary gerontology and ‘the Lifecourse Perspective’ which is a theoretical framework in social gerontology.
    [Show full text]
  • COFAC Today Spring 2017
    Spring 2017 COFAC TODAY COLLEGE OF FINE ARTS AND COMMUNICATION HEAVY METAL ARTISTS Sculpture competition gives students an opportunity for a permanent installation. COFAC TODAY COLLEGE OF FINE ARTS AND COMMUNICATION DEAN, COLLEGE OF DEAR FRIENDS, FAMILIES, AND COLLEAGUES, FINE ARTS & COMMUNICATION Susan Picinich The close of an academic year brings with it a sense of pride and anticipation. The College of Fine Arts and Communication bustles with excitement as students finish final projects, presentations, exhibitions, EDITOR Sedonia Martin concerts, recitals and performances. Sr. Communications Manager In this issue of COFAC Today we look at the advancing professional career of dance alum Will B. Bell University Marketing and Communications ’11 who is making his way in the world of dance including playing “Duane” in the live broadcast of ASSOCIATE EDITOR Hairspray Live, NBC television’s extravaganza. Marissa Berk-Smith Communications and Outreach Coordinator The Asian Arts & Culture Center (AA&CC) presented Karaoke: Asia’s Global Sensation, an exhibition College of Fine Arts and Communication that explored the world-wide phenomenon of karaoke. Conceived by AA&CC director Joanna Pecore, WRITER students, faculty and staff had the opportunity to belt out a song in the AA&CC gallery while learning Wanda Haskel the history of karaoke. University Marketing and Communications DESIGNER Music major Noah Pierre ’19 and Melanie Brown ’17 share a jazz bond. Both have been playing music Rick Pallansch since childhood and chose TU’s Department of Music Jazz Studies program. Citing outstanding faculty University Marketing and Communications and musical instruction, these students are honing their passion of making music and sharing it with PHOTOGRAPHY the world.
    [Show full text]
  • Shaping the Inheritance of the Spanish Civil War on the British Left, 1939-1945 a Thesis Submitted to the University of Manches
    Shaping the Inheritance of the Spanish Civil War on the British Left, 1939-1945 A thesis submitted to the University of Manchester for the degree of Master of Philosophy in the Faculty of Humanities 2017 David W. Mottram School of Arts, Languages and Cultures Table of contents Abstract p.4 Declaration p.5 Copyright statement p.5 Acknowledgements p.6 Introduction p.7 Terminology, sources and methods p.10 Structure of the thesis p.14 Chapter One The Lost War p.16 1.1 The place of ‘Spain’ in British politics p.17 1.2 Viewing ‘Spain’ through external perspectives p.21 1.3 The dispersal, 1939 p.26 Conclusion p.31 Chapter Two Adjustments to the Lost War p.33 2.1 The Communist Party and the International Brigaders: debt of honour p.34 2.2 Labour’s response: ‘The Spanish agitation had become history’ p.43 2.3 Decline in public and political discourse p.48 2.4 The political parties: three Spanish threads p.53 2.5 The personal price of the lost war p.59 Conclusion p.67 2 Chapter Three The lessons of ‘Spain’: Tom Wintringham, guerrilla fighting, and the British war effort p.69 3.1 Wintringham’s opportunity, 1937-1940 p.71 3.2 ‘The British Left’s best-known military expert’ p.75 3.3 Platform for influence p.79 3.4 Defending Britain, 1940-41 p.82 3.5 India, 1942 p.94 3.6 European liberation, 1941-1944 p.98 Conclusion p.104 Chapter Four The political and humanitarian response of Clement Attlee p.105 4.1 Attlee and policy on Spain p.107 4.2 Attlee and the Spanish Republican diaspora p.113 4.3 The signal was Greece p.119 Conclusion p.125 Conclusion p.127 Bibliography p.133 49,910 words 3 Abstract Complexities and divisions over British left-wing responses to the Spanish Civil War between 1936 and 1939 have been well-documented and much studied.
    [Show full text]
  • Picador December 2019
    PICADOR DECEMBER 2019 PAPERBACK The Inflamed Mind A Radical New Approach to Depression Edward Bullmore Worldwide, depression will be the single biggest cause of disability in the next twenty years. But treatment for it has not changed much in the last three decades...until now. In this game-changing book, University of Cambridge Professor of Psychiatry Edward Bullmore reveals the breakthrough new science on the link between depression and inflammation of the body and brain. He explains how and why we now know that mental disorders can have their root cause in the immune PSYCHOLOGY / system, and outlines a future revolution in which treatments could be PSYCHOPATHOLOGY / specifically targeted to break the vicious cycle of stress, inflammation, and DEPRESSION depression. Picador | 12/31/2019 9781250318169 | $18.00 / $24.50 Can. Trade Paperback | 256 pages | Carton Qty: 32 The Inflamed Mind goes far beyond the clinic and the lab, representing a whole 8.3 in H | 5.4 in W new way of looking at how mind, brain, and body all work together in a Includes 15 black-and-white illustrations throughout sometimes-misguided effort to help us survive in a hostile world. It offers insights into the story of Western medicine, how we have got it wrong as well as Subrights: UK: Short Books; tr.: The Gener right in the past, and how we could start getting to grips with depression and Company; 1st Ser: Picador, Aud.: Picador other mental disorders much more effectively in the future. Other Available Formats: Hardcover ISBN: 9781250318145 • For readers of Atul
    [Show full text]
  • CABARET SYNOPSIS the Scene Is a Sleazy Nightclub in Berlin As The
    CABARET SYNOPSIS The scene is a sleazy nightclub in Berlin as the 1920s are drawing to a close. Cliff Bradshaw, a young American writer, and Ernst Ludwig, a German, strike up a friendship on a train. Ernst gives Cliff an address in Berlin where he will find a room. Cliff takes this advice and Fräulein Schneider, a vivacious 60 year old, lets him have a room very cheaply. Cliff, at the Kit Kat Club, meets an English girl, Sally Bowles, who is working there as a singer and hostess. Next day, as Cliff is giving Ernst an English lesson, Sally arrives with all her luggage and moves in. Ernst comes to ask Cliff to collect something for him from Paris; he will pay well for the service. Cliff knows that this will involve smuggling currency, but agrees to go. Ernst's fee will be useful now that Cliff and Sally are to be married. Fraulein Schneider and her admirer, a Jewish greengrocer named Herr Schultz, also decide to become engaged and a celebration party is held in Herr Schultz shop. In the middle of the festivities Ernst arrives wearing a Nazi armband. Cliff realizes that his Paris errand was on behalf of the Nazi party and refuses Ernst's payment, but Sally accepts it. At Cliff's flat Sally gets ready to go back to work at the Kit Kat Klub. Cliff determines that they will leave for America but that evening he calls at the Klub and finds Sally there. He is furious, and when Ernst approaches him to perform another errand Cliff knocks him down.
    [Show full text]
  • European Political Cultures, Part 3. Goodbye to Berlin In
    European Studies: European political cultures, part 3. Goodbye to Berlin In this paper I am going to write a critical and reflective essay about the novel “Goodbye to Berlin”. For the analysis chapter I use the studied concepts, theories and the historical context. My work in this essay start with a short introduction on the novel "Goodbye to Berlin" and then I will combine the novel with main characters, the time, movie and music. On the last chapter of this essay, I will write my own reflection and my own opinion about the novel. The best way to achieve correct information about this novel is that to read relevant materials like books, movies, web pages and articles which can give correct information. Short facts Title: Goodbye to Berlin Author: Christopher Isherwood Country: Great Britannia and Germany Genre: Diary novel Year of publication: 1939 Main characters: Christopher, Sally, Otto, Natalia and Bernhard. Music: Cabaret Movie: Isherwood and his kind /Written by Aria Rezai, student at Malmö University. European Studies: European political cultures, part 3. Introduction "Goodbye to Berlin" is a novel that is written by the British author Christopher William Bradshaw Isherwood. This novel takes place in Berlin between 1930 and 1933 and was published in English on 1939, and in Swedish on 1954 by translating of Tage Svensson and by Leif Janzon on 2009. This novel contains six chapters and each chapter is a short story about Isherwood’s daily experiences. The story starts from then he was travelling to Berlin until he left Berlin forever (Leijonhufvud 2009 and Montelius 2009).
    [Show full text]
  • People, Objects, and Anxiety in Thirties British Fiction Emily O'keefe Loyola University Chicago
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Loyola eCommons Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 2012 The Things That Remain: People, Objects, and Anxiety in Thirties British Fiction Emily O'Keefe Loyola University Chicago Recommended Citation O'Keefe, Emily, "The Things That Remain: People, Objects, and Anxiety in Thirties British Fiction" (2012). Dissertations. Paper 374. http://ecommons.luc.edu/luc_diss/374 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 2012 Emily O'keefe LOYOLA UNIVERSITY CHICAGO THE THINGS THAT REMAIN: PEOPLE, OBJECTS, AND ANXIETY IN THIRTIES BRITISH FICTION A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY PROGRAM IN ENGLISH BY EMILY O‘KEEFE CHICAGO, ILLINOIS AUGUST 2012 Copyright by Emily O‘Keefe, 2012 All rights reserved. ACKNOWLEDGEMENTS Thank you to Joyce Wexler, who initially inspired me to look beyond symbolism to find new ways of engaging with material things in texts. Her perceptive readings of several versions of these chapters guided and encouraged me. To Pamela Caughie, who urged me to consider new and fascinating questions about theory and periodization along the way, and who was always ready to offer practical guidance. To David Chinitz, whose thorough and detailed comments helped me to find just the right words to frame my argument.
    [Show full text]