German Literary Expressionism and Its Publishers
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Berliner Beiträge Zur Hungarologie
79 Irene Rübberdt Die aktivistischen Zeitschriften A Tett, Ma und Die Aktion im Zeitraum von 1911 bis 1919. Eine vergleichende Betrachtung Die Studie widmet sich dem typologischen Vergleich zweier aktivistischer Zeitschriften auf der Grundlage des Materials der Berliner Aktion (1911/1932) und der Budapester Tett (Die Tat, 1915/16) bzw0 deren Nachfolgerin Ma (Heute, 1916/1925) in der Zeit vor 192o. Wach dem Selbstzeugnis des führenden Re- präsentanten der ungarischen Avantgarde und Herausgebers der beiden oben genannten Zeitschriften, Lajos Kassák, standen für die ungarischen Zeitschriften sowohl Herwarth Waldens Der 1 Sturm als auch Die Aktion von Franz Pfemfert Modell 0 Gleich- wohl berief sich Kassák in den kunstpolitischen Kontroversen 2 von 1919 wiederholt auf den Aktions-Kreis um Pfemfert, dage- gen wurde die "reine Formkunst" des Sturm in 3 dieser Zeit von der Ma wie von der Aktion explizit abgelehnt 0 Erst nach 1919, als Die Aktion als literarische Zeitschrift ihre Bedeutung verloren hatte, und nach Kassáks Emigration, gab es nicht nur deutlichbeit zwischee Zeichenn Stur,m sonderund Mna 4 auc; dehr ErgebnissAbdruck evo neine Gedichter Zusammenarn Lajo-s Kassáks, Tibor Derys, József Nádass' und Aladár Tamás', Endre r r 5 Gaspars Artikel zur "Bewegung der ungarischen Aktivisten" so- wie die 1923 erfolgte Edition des Ma-Buches mit Gedichten von Kassák im Verlag Der Sturm und die 1 31 • Sturm-Ausstellung vom Mai 1924 mit Werken von Kassák und Nikolaus Braun zeugten nun nicht nur von einer bewußten Kenntnisnahme der ungarischen Strömung, -
Introduction
Introduction BY ROBERT WELTSCH Downloaded from https://academic.oup.com/leobaeck/article/8/1/IX/938684 by guest on 27 September 2021 No greater discrepancy can be imagined than that between the three men with whom we begin the present volume of the Year Book. It is almost a reflection of what, since Sir Charles Snow's famous lecture, has become the current formula of "The Two Cultures". Ismar Elbogen devoted his whole life to Jewish scholarship, he was a true representative of the humanities. Fritz Haber on the other hand was a great scientist, though his biographer, doctor and friend, is eager to point out that at his time the two cultures were not yet so far apart, and that Haber was devoted to poets like Goethe and himself made verses. But what about our third man? For his sake, we may be tempted to add to the array a "Third Culture", the world of Mammon, seen not from the aspect of greed, but, in this special case, to be linked in a unique way with active work for the good of fellow-men — in philanthropy of a magnitude which has very few parallels in the history of all nations. There is little that we could add, in the way of introduction, to the story of Baron Hirsch as told by Mr. Adler-Rudel. Among the Jewish public it is not always remembered that the man was a German Jew, a descendant of a Bavarian family of court bankers who acquired the castle of Gereuth. Owing to the early transfer of his residence to Brussels and later to Paris, and perhaps also due to his collaboration with the Alliance Israelite Universelle, Hirsch is in the mind of the uninformed public often associated with French Jewry. -
German Jews in the United States: a Guide to Archival Collections
GERMAN HISTORICAL INSTITUTE,WASHINGTON,DC REFERENCE GUIDE 24 GERMAN JEWS IN THE UNITED STATES: AGUIDE TO ARCHIVAL COLLECTIONS Contents INTRODUCTION &ACKNOWLEDGMENTS 1 ABOUT THE EDITOR 6 ARCHIVAL COLLECTIONS (arranged alphabetically by state and then city) ALABAMA Montgomery 1. Alabama Department of Archives and History ................................ 7 ARIZONA Phoenix 2. Arizona Jewish Historical Society ........................................................ 8 ARKANSAS Little Rock 3. Arkansas History Commission and State Archives .......................... 9 CALIFORNIA Berkeley 4. University of California, Berkeley: Bancroft Library, Archives .................................................................................................. 10 5. Judah L. Mages Museum: Western Jewish History Center ........... 14 Beverly Hills 6. Acad. of Motion Picture Arts and Sciences: Margaret Herrick Library, Special Coll. ............................................................................ 16 Davis 7. University of California at Davis: Shields Library, Special Collections and Archives ..................................................................... 16 Long Beach 8. California State Library, Long Beach: Special Collections ............. 17 Los Angeles 9. John F. Kennedy Memorial Library: Special Collections ...............18 10. UCLA Film and Television Archive .................................................. 18 11. USC: Doheny Memorial Library, Lion Feuchtwanger Archive ................................................................................................... -
The Drama of German Expressionism He National Theatre Recently Staged a Pile of the Bank’S Money; His Wife and the Fate of the Main Character
VOLUME 14 NO.3 MARCH 2014 journal The Association of Jewish Refugees The drama of German Expressionism he National Theatre recently staged a pile of the bank’s money; his Wife and the fate of the main character. an important, but rarely seen, play Daughters, representing the conventional The play’s language is stripped down to its by the best-known of the German family life that he abandons; and the various basics for maximum expressive effect, in line TExpressionist dramatists, Georg Kaiser figures that he subsequently encounters in with the Expressionists’ desire to rediscover (1878-1945). From Morning to Midnight his whirlwind, one-day trajectory through the essential humanity of mankind beneath (Von morgens bis mitternachts) was written the deadening layers of modern life. This in 1912 and first performed in April 1917 striking, declamatory style was known at the Munich Kammerspiele. It is a classic as the ‘Telegrammstil’, attributed first to piece of Expressionist theatre, with its the poet August Stramm: ‘Mensch, werde clipped, staccato dialogue, its abandonment wesentlich!’ (‘Man, become essential!’) was of a conventionally structured plot and the final line of the poem ‘Der Spruch’ realistic, individualised characters, and (‘The Saying’) by the Expressionist poet its attempt to pierce through the surface Ernst Stadler. The characteristic mode of detail of everyday bourgeois life to convey expression for these writers was a rhetorical the deeper reality of human existence in an outcry of extreme intensity, which became industrialised, mechanised society devoid of known as ‘der Schrei’ (‘the scream’), with values beyond soulless materialism. obvious reference to the celebrated painting Although this play was performed at by Edvard Munch. -
German Expressionism: the Second Generation (Los Angeles: Los Angeles County Museum of Art, 1988): 10-37
Stephanie Barron, “Introduction” to Barron (ed.), German Expressionism: The Second Generation (Los Angeles: Los Angeles County Museum of Art, 1988): 10-37. The notion that all the significant achievements of German Expressionism occurred before 1914 is a familiar one. Until recently most scholars and almost all exhibitions of German Expressionist work have drawn the line with the 1913 dissolution of Die Brücke (The Bridge) in Berlin or the outbreak of the First World War in 1914. Peter Selz’s pioneering study German Expressionist Painting, published in 1957, favored 1914 as a terminus as did Wolf-Dieter Dube’s Expressionism, which appeared in 1977. It is true that by 1914 personal differences had led the Brücke artists to dissolve their association, and Der Blaue Reiter (The Blue Rider) had disintegrated when Wassily Kandinsky returned from Munich to Russia and Franz Marc volunteered for war service. Other artists’ associations also broke up when their members were drafted. Thus, the outbreak of the war has provided a convenient endpoint for many historians, who see the postwar artistic activities of Ernst Barlach, Max Beckmann, Oskar Kokoschka, Kathe Kollwitz, and others as individual, not group responses and describe the 1920s as the period of developments at the Bauhaus in Weimar or of the growing popularity of Neue Sachlichkeit (New Objectivity). The years 1915-25 have been lost, or certainly not adequately defined, as a coherent and potent, albeit brief, idealistic period in the evolution of German Expressionism. More recent scholarship, including Dube’s Expressionists and Expressionism (1983) and Donald E. Gordon’s Expressionism- Art and Idea (1987), sees the movement as surviving into the 1920s. -
The Future of the German-Jewish Past: Memory and the Question of Antisemitism
Purdue University Purdue e-Pubs Purdue University Press Books Purdue University Press Fall 12-15-2020 The Future of the German-Jewish Past: Memory and the Question of Antisemitism Gideon Reuveni University of Sussex Diana University Franklin University of Sussex Follow this and additional works at: https://docs.lib.purdue.edu/purduepress_ebooks Part of the Jewish Studies Commons Recommended Citation Reuveni, Gideon, and Diana Franklin, The Future of the German-Jewish Past: Memory and the Question of Antisemitism. (2021). Purdue University Press. (Knowledge Unlatched Open Access Edition.) This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. THE FUTURE OF THE GERMAN-JEWISH PAST THE FUTURE OF THE GERMAN-JEWISH PAST Memory and the Question of Antisemitism Edited by IDEON EUVENI AND G R DIANA FRANKLIN PURDUE UNIVERSITY PRESS | WEST LAFAYETTE, INDIANA Copyright 2021 by Purdue University. Printed in the United States of America. Cataloging-in-Publication data is on file at the Library of Congress. Paperback ISBN: 978-1-55753-711-9 An electronic version of this book is freely available, thanks to the support of librar- ies working with Knowledge Unlatched. KU is a collaborative initiative designed to make high-quality books Open Access for the public good. The Open Access ISBN for this book is 978-1-61249-703-7. Cover artwork: Painting by Arnold Daghani from What a Nice World, vol. 1, 185. The work is held in the University of Sussex Special Collections at The Keep, Arnold Daghani Collection, SxMs113/2/90. -
Introduction to German Literature and Culture Syllabus for Spring 2017
Introduction to German Literature and Culture Syllabus for Spring 2017 Mark W. Roche GE30204 - 01 Logistical Information Class: Mondays, Wednesdays, and Fridays from 11:30 to 12:20 in 338 O’Shaughnessy Hall. Office: 349 Decio Hall Office Hours: Mondays from 2:00 to 3:30 and Wednesdays from 3:00 to 4:30 as well as by appointment. Impromptu meetings can easily be arranged before class on Mondays and Wednesdays and before and after class on Fridays. Phone: (574) 631-8142 (office); (574) 302-1813 (cell). E-mail: [email protected]; Web: http://mroche.nd.edu/ Course Description What are the major developments in the literary and cultural history of German-speaking Europe? Who are the significant figures and what are the greatest works in the German tradition? How do these figures and works relate to one another? What themes permeate the tradition? How are they like or unlike what one sees in other cultures? Are there distinctive and defining characteristics of the German tradition? What are the most productive and compelling questions with which to approach a work of literature or culture? These and related questions will be explored in this class. Students will read, discuss, and analyze selected texts representing prose, poetry, and drama. The will also be exposed to the visual arts, music, film, and philosophy. They will become familiar with fundamental techniques of approaching and interpreting works, which will help prepare them for more advanced courses. We will survey a number of figures and works, dwelling longer on a few. We will read in its entirety one of the best known works in all of German literature, Lessing’s Enlightenment drama Nathan der Weise, a work that even today is part of German public discourse. -
Spring Summer 2020 Cover.Indd
Dear Friends of the Muscarelle, LETTER It’s hard to believe that a year has passed since I first joined the photography by William & Mary art faculty member Eliot Dudik. Our Muscarelle team. Our 2019 calendar of exhibitions and programs was exhibition on the collection of The Owens Foundation will honor one FROM THE rich and broad, and we hope you were able to join us. of the Muscarelle’s greatest patrons, Carroll Owens, Jr., who time and INTERIM During the fall 2019 semester, the Museum was deeply engaged with again stepped in with financial support that allowed the Museum the academic mission of the University. We opened our fall season to grow and prosper. The exhibition will feature the outstanding DIRECTOR with the outstanding exhibition entitled The Adjacent Possible, which works, by a variety of American painters, collected by Carroll and Patty was curated by Professor Elizabeth Mead of the Department of Art & Owens. Art History. The exhibition served as the laboratory space for the We will reopen our upstairs galleries this spring with an installation interdisciplinary course Neuro-aesthetics: The Artist and the Mind, from our permanent collection, including new acquisitions, with the which was co-taught by Professor Mead and Professor Jennifer Stevens intention of highlighting the growing diversity of our holdings. And in SPRING/SUMMER from the Department of Psychological Sciences. The course explored April, we will once again serve the academic mission of the University the way the human brain processes abstract art, and both students and as we feature two exhibitions curated by undergraduate classes. -
Sretenovic Dejan Red Horizon
Dejan Sretenović RED HORIZON EDITION Red Publications Dejan Sretenović RED HORIZON AVANT-GARDE AND REVOLUTION IN YUGOSLAVIA 1919–1932 kuda.org NOVI SAD, 2020 The Social Revolution in Yugoslavia is the only thing that can bring about the catharsis of our people and of all the immorality of our political liberation. Oh, sacred struggle between the left and the right, on This Day and on the Day of Judgment, I stand on the far left, the very far left. Be‑ cause, only a terrible cry against Nonsense can accelerate the whisper of a new Sense. It was with this paragraph that August Cesarec ended his manifesto ‘Two Orientations’, published in the second issue of the “bimonthly for all cultural problems” Plamen (Zagreb, 1919; 15 issues in total), which he co‑edited with Miroslav Krleža. With a strong dose of revolutionary euphoria and ex‑ pressionistic messianic pathos, the manifesto demonstrated the ideational and political platform of the magazine, founded by the two avant‑garde writers from Zagreb, activists of the left wing of the Social Democratic Party of Croatia, after the October Revolution and the First World War. It was the struggle between the two orientations, the world social revolution led by Bolshevik Russia on the one hand, and the world of bourgeois counter‑revolution led by the Entente Forces on the other, that was for Cesarec pivot‑ al in determining the future of Europe and mankind, and therefore also of the newly founded Kingdom of Serbs, Cro‑ ats and Slovenes (Kingdom of SCS), which had allied itself with the counter‑revolutionary bloc. -
Dichtergedichte Als Gründungsdokumente Der Expressionistischen Avantgarde
Dichtergedichte als Gründungsdokumente der expressionistischen Avantgarde Inaugural-Dissertation zur Erlangung der Doktorwürde der Philologischen Fakultäten der Albert-Ludwigs-Universität zu Freiburg i. Br. Vorgelegt Von Jae Sang Kim aus Seoul, Südkorea WS 2006/2007 Datum der Fachprüfung im Promotionsfach: 14. Juni 2007 Erstgutachter: Prof. Dr. Achim Aurnhammer Zweitgutachter: Prof. Dr. Dieter Martin Das Deutsche Literaturarchiv Marbach ermöglichte 1996 mir mit einem Marbach- Stipendium den dreimonatigen Forschungsaufenthalt in Marbacher Archiv. Dafür bedanke ich mich ganz herzlich. Inhalt I. Einleitung .................................................................................... 6 II. Nietzsches Spätphilosophie und ihre Rezeption im Neuen Club ..................... 8 1. Nietzsches Spätphilosophie – Der Wille zur Macht und »décadence«-Kritik .. 11 1.1 Nietzsches Lehre des Willens zur Macht – die ontologische Begründung des neuen Daseinsprinzips ...................................... 11 1.2 Analyse des Nihilismus – »décadence« als die Logik des Nihilismus ... 15 1.3 Überwindung des Nihilismus und die »Physiologie der Kunst« – Kunst als das normative Modell des Willens zur Macht ................... 19 2. Nietzsche-Rezeption im Expressionismus – am Beispiel des Neuen Clubs .... 24 III. »Dichtergedichte« als Gründungsdokumente der expressionistischen Avantgarde – Verehrung und Überwindung der Dichtervorbilder in expressionistischen »Dichtergedichten« ........................................................................ 38 1. Zum -
The Routledge Dictionary of Literary Terms
The Routledge Dictionary of Literary Terms The Routledge Dictionary of Literary Terms is a twenty-first century update of Roger Fowler’s seminal Dictionary of Modern Critical Terms. Bringing together original entries written by such celebrated theorists as Terry Eagleton and Malcolm Bradbury with new definitions of current terms and controversies, this is the essential reference book for students of literature at all levels. This book includes: ● New definitions of contemporary critical issues such as ‘Cybercriticism’ and ‘Globalization’. ● An exhaustive range of entries, covering numerous aspects to such topics as genre, form, cultural theory and literary technique. ● Complete coverage of traditional and radical approaches to the study and production of literature. ● Thorough accounts of critical terminology and analyses of key academic debates. ● Full cross-referencing throughout and suggestions for further reading. Peter Childs is Professor of Modern English Literature at the University of Gloucestershire. His recent publications include Modernism (Routledge, 2000) and Contemporary Novelists: British Fiction Since 1970 (Palgrave, 2004). Roger Fowler (1939–99), the distinguished and long-serving Professor of English and Linguistics at the University of East Anglia, was the editor of the original Dictionary of Modern Critical Terms (Routledge, 1973, 1987). Also available from Routledge Poetry: The Basics Who’s Who in Contemporary Jeffrey Wainwright Women’s Writing 0–415–28764–2 Edited by Jane Eldridge Miller Shakespeare: The Basics 0–415–15981–4 -
Modern Art and Politics in Prewar Germany
Stephanie Barron, “Modern Art and Politics in Prewar Germany,” in Barron (ed.), Degenerate Art: The Fate of the Avant-Garde in Nazi Germany (Los Angeles: Los Angeles County Museum of Art, 1991): 9-23. In 1937 the National Socialists staged the most virulent attack ever mounted against modern art with the opening on July 19 in Munich of the Entartete Kunst (Degenerate art) exhibition, in which were brought together more than 650 important paintings, sculptures, prints, and books that had until a few weeks earlier been in the possession of thirty-two German public museum collections. The works were assembled for the purpose of clarifying for the German public by defamation and derision exactly what type of modern art was unacceptable to the Reich, and thus “un-German.” During the four months Entartete Kunst was on view in Munich it attracted more than two million visitors, over the next three years it traveled throughout Germany and Austria and was seen by nearly one million more On most days twenty thousand visitors passed through the exhibition, which was free of charge; records state that on one SundayAugust 2, 1937-thirty- six thousand people saw it.1 The popularity of Entartete Kunst has never been matched by any other exhibition of modern art. According to newspaper accounts, five times as many people visited Entartete Kunst as saw the Grosse Deutsche Kunstaussiellung (Great German art exhibition), an equally large presentation of Nazi-approved art that had opened on the preceding day to inaugurate Munich's Haus der Deutschen Kunst (House of German art), the first official building erected by the National Socialists.