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CHAPTER 2 the Period of the Weimar Republic Is Divided Into Three
CHAPTER 2 BERLIN DURING THE WEIMAR REPUBLIC The period of the Weimar Republic is divided into three periods, 1918 to 1923, 1924 to 1929, and 1930 to 1933, but we usually associate Weimar culture with the middle period when the post WWI revolutionary chaos had settled down and before the Nazis made their aggressive claim for power. This second period of the Weimar Republic after 1924 is considered Berlin’s most prosperous period, and is often referred to as the “Golden Twenties”. They were exciting and extremely vibrant years in the history of Berlin, as a sophisticated and innovative culture developed including architecture and design, literature, film, painting, music, criticism, philosophy, psychology, and fashion. For a short time Berlin seemed to be the center of European creativity where cinema was making huge technical and artistic strides. Like a firework display, Berlin was burning off all its energy in those five short years. A literary walk through Berlin during the Weimar period begins at the Kurfürstendamm, Berlin’s new part that came into its prime during the Weimar period. Large new movie theaters were built across from the Kaiser Wilhelm Memorial church, the Capitol und Ufa-Palast, and many new cafés made the Kurfürstendamm into Berlin’s avant-garde boulevard. Max Reinhardt’s theater became a major attraction along with bars, nightclubs, wine restaurants, Russian tearooms and dance halls, providing a hangout for Weimar’s young writers. But Berlin’s Kurfürstendamm is mostly famous for its revered literary cafés, Kranzler, Schwanecke and the most renowned, the Romanische Café in the impressive looking Romanische Haus across from the Memorial church. -
Versailles (Hellerau, 1927). Even Deutschland, Frankreich Und
BIBLIOGRAPHICAL NOTE Most of the sources on German history from 1890 to the end of the Weimar Republic are of use in a study of Maximilian Har den. In the following paragraphs are noted, besides the un published sources, only the published materials that deal directly with Harden, and the general works or monographs on the period that have been used most extensively. Many works cited in the text are not listed here; a complete reference to each one is found in its first citation. The indispensable source of information on Harden is the magazine he edited from 1892 until 1922. The one hundred and eighteen volumes of the Zukunft contain the bulk of his essays, commentaries, and trial records, as well as many private letters to and from him. The Zukunft was the inspiration or the source for Harden's principal pamphlets and books, namely Kampfge nosse Sudermann (Berlin, 1903); KopJe (4 vols., Berlin, 1911-1924); Krieg und Friede (2 vols., Berlin, 1918); and Von Versailles nach Versailles (Hellerau, 1927). Even Deutschland, Frankreich und England (Berlin, 1923), written after the Zukun}t had ceased publication, was in large a repetition of Zukunft articles. Harden's earliest work, Berlin als Theaterhauptstadt (Berlin, 1889), consisted in part of pieces he had written for Die Nation. Apostata (Berlin, 1892), Apostata, neue Folge (Berlin, 1892), andLiteraturund Theater (Berlin, 1896), were collections of his essays from Die Gegenwart. The Gegenwart and the other magazines for which he wrote before 1892 - Die Nation, Die Kunstwart, and M agazin fur Litteratur - are also indispensable sources. Harden's published writings also include articles in other German and foreign newspapers and magazines. -
Ten Thomas Bernhard, Italo Calvino, Elena Ferrante, and Claudio Magris: from Postmodernism to Anti-Semitism
Ten Thomas Bernhard, Italo Calvino, Elena Ferrante, and Claudio Magris: From Postmodernism to Anti-Semitism Saskia Elizabeth Ziolkowski La penna è una vanga, scopre fosse, scava e stana scheletri e segreti oppure li copre con palate di parole più pesanti della terra. Affonda nel letame e, a seconda, sistema le spoglie a buio o in piena luce, fra gli applausi generali. The pen is a spade, it exposes graves, digs and reveals skeletons and secrets, or it covers them up with shovelfuls of words heavier than earth. It bores into the dirt and, depending, lays out the remains in darkness or in broad daylight, to general applause. —Claudio Magris, Non luogo a procedere (Blameless) In 1967, Italo Calvino wrote a letter about the “molto interessante e strano” (very interesting and strange) writings of Thomas Bernhard, recommending that the important publishing house Einaudi translate his works (Frost, Verstörung, Amras, and Prosa).1 In 1977, Claudio Magris held one of the !rst international conferences for the Austrian writer in Trieste.2 In 2014, the conference “Il più grande scrittore europeo? Omag- gio a Thomas Bernhard” (The Greatest European Author? Homage to 1 Italo Calvino, Lettere: 1940–1985 (Milan: Mondadori, 2001), 1051. 2 See Luigi Quattrocchi, “Thomas Bernhard in Italia,” Cultura e scuola 26, no. 103 (1987): 48; and Eugenio Bernardi, “Bernhard in Italien,” in Literarisches Kollo- quium Linz 1984: Thomas Bernhard, ed. Alfred Pittertschatscher and Johann Lachinger (Linz: Adalbert Stifter-Institut, 1985), 175–80. Both Quattrocchi and Bernardi -
View Becomes New." Anton Webern to Arnold Schoenberg, November, 25, 1927
J & J LUBRANO MUSIC ANTIQUARIANS Catalogue 74 The Collection of Jacob Lateiner Part VI ARNOLD SCHOENBERG 1874-1951 ALBAN BERG 1885-1935 ANTON WEBERN 1883-1945 6 Waterford Way, Syosset NY 11791 USA Telephone 561-922-2192 [email protected] www.lubranomusic.com CONDITIONS OF SALE Please order by catalogue name (or number) and either item number and title or inventory number (found in parentheses preceding each item’s price). To avoid disappointment, we suggest either an e-mail or telephone call to reserve items of special interest. Orders may also be placed through our secure website by entering the inventory numbers of desired items in the SEARCH box at the upper left of our homepage. Libraries may receive deferred billing upon request. Prices in this catalogue are net. Postage and insurance are additional. An 8.625% sales tax will be added to the invoices of New York State residents. International customers are asked to kindly remit in U.S. funds (drawn on a U.S. bank), by international money order, by electronic funds transfer (EFT) or automated clearing house (ACH) payment, inclusive of all bank charges. If remitting by EFT, please send payment to: TD Bank, N.A., Wilmington, DE ABA 0311-0126-6, SWIFT NRTHUS33, Account 4282381923 If remitting by ACH, please send payment to: TD Bank, 6340 Northern Boulevard, East Norwich, NY 11732 USA ABA 026013673, Account 4282381923 All items remain the property of J & J Lubrano Music Antiquarians LLC until paid for in full. Fine Items & Collections Purchased Please visit our website at www.lubranomusic.com where you will find full descriptions and illustrations of all items Members Antiquarians Booksellers’ Association of America International League of Antiquarian Booksellers Professional Autograph Dealers’ Association Music Library Association American Musicological Society Society of Dance History Scholars &c. -
Operetta After the Habsburg Empire by Ulrike Petersen a Dissertation
Operetta after the Habsburg Empire by Ulrike Petersen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Richard Taruskin, Chair Professor Mary Ann Smart Professor Elaine Tennant Spring 2013 © 2013 Ulrike Petersen All Rights Reserved Abstract Operetta after the Habsburg Empire by Ulrike Petersen Doctor of Philosophy in Music University of California, Berkeley Professor Richard Taruskin, Chair This thesis discusses the political, social, and cultural impact of operetta in Vienna after the collapse of the Habsburg Empire. As an alternative to the prevailing literature, which has approached this form of musical theater mostly through broad surveys and detailed studies of a handful of well‐known masterpieces, my dissertation presents a montage of loosely connected, previously unconsidered case studies. Each chapter examines one or two highly significant, but radically unfamiliar, moments in the history of operetta during Austria’s five successive political eras in the first half of the twentieth century. Exploring operetta’s importance for the image of Vienna, these vignettes aim to supply new glimpses not only of a seemingly obsolete art form but also of the urban and cultural life of which it was a part. My stories evolve around the following works: Der Millionenonkel (1913), Austria’s first feature‐length motion picture, a collage of the most successful stage roles of a celebrated -
Chapter 1: Schoenberg the Conductor
Demystifying Schoenberg's Conducting Avior Byron Video: Silent, black and white footage of Schönberg conducting the Los Angeles Philharmonic in a rehearsal of Verklärte Nacht, Op. 4 in March 1935. Audio ex. 1: Schoenberg conducting Pierrot lunaire, ‘Eine blasse Wäscherin’, Los Angeles, CA, 24 September 1940. Audio ex. 2: Schoenberg conducting Verklärte Nacht Op. 4, Berlin, 1928. Audio ex. 3: Schoenberg conducting Verklärte Nacht Op. 4, Berlin, 1928. In 1975 Charles Rosen wrote: 'From time to time appear malicious stories of eminent conductors who have not realized that, in a piece of … Schoenberg, the clarinettist, for example, picked up an A instead of a B-flat clarinet and played his part a semitone off'.1 This widespread anecdote is often told about Schoenberg as a conductor. There are also music critics who wrote negatively and quite decisively about Schoenberg's conducting. For example, Theo van der Bijl wrote in De Tijd on 7 January 1921 about a concert in Amsterdam: 'An entire Schoenberg evening under the direction of the composer, who unfortunately is not a conductor!' Even in the scholarly literature one finds declarations from time to time that Schoenberg was an unaccomplished conductor.2 All of this might have contributed to the fact that very few people now bother taking Schoenberg's conducting seriously.3 I will challenge this prevailing negative notion by arguing that behind some of the criticism of Schoenberg's conducting are motives, which relate to more than mere technical issues. Relevant factors include the way his music was received in general, his association with Mahler, possibly anti-Semitism, occasionally negative behaviour of performers, and his complex relationship with certain people. -
Kurt Tucholsky's Satirical Essays
Payne: Europe’s Displacements Europe’s Displacements: Kurt Tucholsky’s Satirical Essays “Identification” and “The Border” TRANSIT vol. 11, no. 1 Charlton Payne Europe (including Germany), Tucholsky’s short satirical pieces remind us, was undergoing momentous changes as a result of the efforts to secure and administer its national borders during and in the immediate aftermath of the First World War. The modern nation-state had been developing techniques for drawing borders, identifying citizens and aliens, and controlling the movement of persons and goods across borders since at least the eighteenth century. But the outbreak of war in 1914 ignited a vehement, renewed effort by European nations and empires to secure their respective borders. Nation-states combined the various technologies of identification and record-keeping with the state’s authority to impose comprehensive wartime measures with the aim of regulating the movements of persons throughout the striated spaces of nation and empire. One consequential way to do so was through the administration of identification documents. A passport had to include a personal description, photograph, and the signature of its bearer along with official certification that the bearer was in fact the person in the photograph. On 31 July, 1914, Germany implemented such passport restrictions on anyone entering the Empire from abroad. Additionally, foreign passports for entry into the German Empire required a visa from German diplomatic or consular authorities. Of course, the nation-state is interested not only in keeping out unwanted persons, but also mobilizing its human resources in the event of war. This meant, as Tucholsky describes in “Identification,” that German military personnel could only obtain passports enabling them to exit Germany with the approval of commanding officers. -
Literary Clusters in Germany from Mid-18Th to Early-20Th Century
A Service of Leibniz-Informationszentrum econstor Wirtschaft Leibniz Information Centre Make Your Publications Visible. zbw for Economics Kuld, Lukas; O'Hagan, John Working Paper Location, migration and age: Literary clusters in Germany from mid-18th to early-20th Century TRiSS Working Paper Series, No. TRiSS-WPS-03-2019 Provided in Cooperation with: Trinity Research in Social Sciences (TRiSS), Trinity College Dublin, The University of Dublin Suggested Citation: Kuld, Lukas; O'Hagan, John (2019) : Location, migration and age: Literary clusters in Germany from mid-18th to early-20th Century, TRiSS Working Paper Series, No. TRiSS-WPS-03-2019, Trinity College Dublin, The University of Dublin, Trinity Research in Social Sciences (TRiSS), Dublin This Version is available at: http://hdl.handle.net/10419/226788 Standard-Nutzungsbedingungen: Terms of use: Die Dokumente auf EconStor dürfen zu eigenen wissenschaftlichen Documents in EconStor may be saved and copied for your Zwecken und zum Privatgebrauch gespeichert und kopiert werden. personal and scholarly purposes. Sie dürfen die Dokumente nicht für öffentliche oder kommerzielle You are not to copy documents for public or commercial Zwecke vervielfältigen, öffentlich ausstellen, öffentlich zugänglich purposes, to exhibit the documents publicly, to make them machen, vertreiben oder anderweitig nutzen. publicly available on the internet, or to distribute or otherwise use the documents in public. Sofern die Verfasser die Dokumente unter Open-Content-Lizenzen (insbesondere CC-Lizenzen) zur Verfügung gestellt haben sollten, If the documents have been made available under an Open gelten abweichend von diesen Nutzungsbedingungen die in der dort Content Licence (especially Creative Commons Licences), you genannten Lizenz gewährten Nutzungsrechte. may exercise further usage rights as specified in the indicated licence. -
R:\My Documents\Wordperfect 8 Work Files\Events\2003-2004Programme
INSTITUTE OF GERMANIC STUDIES Programme of Events 2003-2004 The theme of tradition and innovation will feature prominently in the Ingeborg Bachmann Centre’s programme for this year, with a three-day conference on Adalbert Stifter, and workshops on Robert Musil and Joseph Roth, the latter organised in collaboration with the London Jewish Cultural Centre. Evelyn Schlag, one of Austria’s most prolific contemporary writers, will follow Walter Grond and Wolfgang Hermann as the Centre’s writer-in- residence in the spring, her stay coinciding with the publication of a new volume of poetry, whilst the eminent Freud scholar, Peter Gay, is expected to give the first biennial Lecture, details of which will be announced in due course. Established in 2002 at the University of London’s Institute of Germanic Studies, the Centre’s activities continue to be supported by the Erste Bank and the Ingeborg Bachmann Centre Österreich Kooperation. INSTITUTE OF GERMANIC STUDIES Events are open to all who are interested. University of London School of Advanced Study 29 Russell Square Autumn 2003 London WC1B 5DP Telephone: +44 (0)20- 7862 8965/6 Facsimile: +44 (0)20- 7860 8970 E-mail: [email protected] Internet: www.sas.ac.uk/igs CONFERENCE Wednesday, 10 to WORKSHOP Thursday, 10 June 2004 Friday, 12 December 2003 Stifter and Modernism Joseph Roth - Revisited or Reinvented? The Reception of Roth’s Works in Britain As a proponent of a specific aesthetic and moral order, Adalbert Stifter has long been regarded as a natural heir to the Great Classical Tradition. Yet Critics claim, and an increasing number of new readers testify, that the even critics persuaded of this view have often detected troubling sub-texts works of Joseph Roth are currently enjoying a remarkable renaissance, within his fiction. -
Die Autoren Und Herausgeber
363 Die Autoren und Herausgeber Anke Bosse (1961) studierte Germanistik, Romanistik und Kompa- ratistik in Göttingen und München. Seit 1997 Universitätsdozentin für Germanistik und Komparatistik an der Universität Namur (Belgien) und Direktorin des dortigen Instituts für Germanistik. Publikationen (Auswahl): „Meine Schatzkammer füllt sich täglich …“ – Die Nachlaßstücke zu Goethes ‚West-östlichem Divan‘. Dokumentation. Kommentar. Entstehungsgeschichte. 2 Bde. (1999); „Eine geheime Schrift aus diesem Splitterwerk enträtseln …“ Marlen Haushofers Werk im Kontext. (Mithg., 2000); Spuren, Signaturen, Spiegelungen. Zur Goethe-Rezeption in Europa. (Mithg., 2000). Forschungs- schwerpunkte: Theorie und Praxis der Edition, Textge-nese und Schreibprozesse, deutschsprachige Literatur des 18. und 19. Jahrhunderts (speziell Goethe), deutschsprachige Gegenwartsliteratur, literarische Moderne um 1900, Geschichte der deutschsprachigen Literatur, Orientalismus und Interkulturalität, Apokalypse in der Literatur, Literaturdidaktik. Anschrift: Universität Namur, Direktorin des Instituts für Germanistik, Rue de Bruxelles 61, B-5000 Namur. E- Mail: [email protected] Leopold R.G. Decloedt (1964) studierte Germanistik und Nieder- landistik an der Universität Gent. 1992 Promotion zum Dr. phil. Mitherausgeber der Reihe “Wechselwirkungen. Österreichische Litera-tur im internationalen Kontext” (Bern: Peter Lang). 1994-1999: Leiter der Abteilung Niederländisch an der Masaryková Univerzita in Brno. Zur Zeit Lehrbeauftragter am Institut für Germanistik der Universität -
Berg Literature Festival Committee) Alexandra Eberhard Project Coordinator/Point Person Prof
HEIDELBERG UNESCO CITY OF LITERATURE English HEIDEL BERG CITY OF LITERATURE “… and as Carola brought him to the car she surprised him with a passionate kiss before hugging him, then leaning on him and saying: ‘You know how really, really fond I am of you, and I know that you are a great guy, but you do have one little fault: you travel too often to Heidelberg.’” Heinrich Böll Du fährst zu oft nach Heidelberg in Werke. Kölner Ausgabe, vol. 20, 1977–1979, ed. Ralf Schell and Jochen Schubert et. al., Kiepenheuer & Witsch Verlag, Cologne, 2009 “One thinks Heidelberg by day—with its surroundings—is the last possibility of the beautiful; but when he sees Heidelberg by night, a fallen Milky Way, with that glittering railway constellation pinned to the border, he requires time to consider upon the verdict.” Mark Twain A Tramp Abroad Following the Equator, Other Travels, Literary Classics of the United States, Inc., New York, 2010 “The banks of the Neckar with its chiseled elevations became for us the brightest stretch of land there is, and for quite some time we couldn’t imagine anything else.” Zsuzsa Bánk Die hellen Tage S. Fischer Verlag, Frankfurt am Main, 2011 HEIDEL BERG CITY OF LITERATURE FIG. 01 (pp. 1, 3) Heidelberg City of Literature FIG. 02 Books from Heidelberg pp. 4–15 HEIDELBERG CITY OF LITERATURE A A HEIDELBERG CITY OF LITERATURE The City of Magical Thinking An essay by Jagoda Marinic´ 5 I think I came to Heidelberg in order to become a writer. I can only assume so, in retro spect, because when I arrived I hadn’t a clue that this was what I wanted to be. -
Einige Österreichische Flüchtlinge in Großbritannien
Einige österreichische Flüchtlinge in Großbritannien Von Reinhard Müller Die nachfolgende, in sechs Kategorien gegliederte Liste von etwa 2.000 österreichischen Flüchtlingen in Großbritannien betrifft den Emigrationszeitraum 1933 bis 1945. Aufgenommen wurden vor allem kreativ Tätige wie Künstler, Philosophen und Wissenschaftler. Dazu kommen Politiker, sofern sie wichtige Funktionen im österreichischen Exil innehatten. Bewusst wurden auch jene Emigranten aufgenommen, die nur eine gewisse Zeit in Großbritannien verweilten, um dann in das gewünschte Zielland - meist die U.S.A. - weiterzuwandern. Damit soll der Bedeutung Rechnung getragen werden, die Großbritannien als - meist erstem - Fluchtpunkt zukam. Außerdem wurden damit auch jene Flüchtlinge berücksichtigt, die von Großbritannien interniert und dann in ihrem Internierungsland - Kanada und Australien - blieben. Natürlich wurden aber auch solche Flüchtlinge aufgenommen, die ihre gesamte Emigrationszeit in Großbritannien verbrachten. Die Liste enthält vorwiegend Personen, die in den Grenzen des heutigen Österreich geboren wurden, sowie Monarchie-Österreicher, welche den überwiegenden Teil ihres Lebens in Österreich (in seinen heutigen Grenzen) verbrachten. Andere Monarchie-Österreicher finden sich nur in Auswahl. Dazu kommen noch Personen, die zwar nicht in Österreich geboren wurden, hier aber lange Zeit lebten oder wichtige Abschnitte ihres Lebens verbrachten. 1. Schriftsteller, Journalisten, Übersetzer und Verleger 2. Maler, Grafiker, Plastiker und Architekten 3. Komponisten, Musiker,