HANNS EISLER EDITION Liner Notes
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University of Cincinnati
UNIVERSITY OF CINCINNATI Date: August 6th, 2007 I, __________________Julia K. Baker,__________ _____ hereby submit this work as part of the requirements for the degree of: Doctorate of Philosophy in: German Studies It is entitled: The Return of the Child Exile: Re-enactment of Childhood Trauma in Jewish Life-Writing and Documentary Film This work and its defense approved by: Chair: Dr. Katharina Gerstenberger Dr. Sara Friedrichsmeyer Dr. Todd Herzog The Return of the Child Exile: Re-enactment of Childhood Trauma in Jewish Life-Writing and Documentary Film A Dissertation submitted to the Division of Research and Advanced Studies University of Cincinnati In partial fulfillment of the Requirements for the degree of DOCTORATE OF PHILOSOPHY (Ph.D.) In the Department of German Studies Of the College of Arts and Sciences 2007 by Julia K. Baker M.A., Bowling Green State University, 2000 M.A., Karl Franzens University, Graz, Austria, 1998 Committee Chair: Katharina Gerstenberger ABSTRACT “The Return of the Child Exile: Re-enactment of Childhood Trauma in Jewish Life- Writing and Documentary Film” is a study of the literary responses of writers who were Jewish children in hiding and exile during World War II and of documentary films on the topic of refugee children and children in exile. The goal of this dissertation is to investigate the relationships between trauma, memory, fantasy and narrative in a close reading/viewing of different forms of Jewish life-writing and documentary film by means of a scientifically informed approach to childhood trauma. Chapter 1 discusses the reception of Binjamin Wilkomirski’s Fragments (1994), which was hailed as a paradigmatic traumatic narrative written by a child survivor before it was discovered to be a fictional text based on the author’s invented Jewish life-story. -
Domestic Space in the Literature and Film of Weimar Berlin
Inside in the City: Domestic Space in the Literature and Film of Weimar Berlin by Courtney C. Johnson A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in German and the Designated Emphasis in Film Studies in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Anton Kaes, Chair Professor Deniz Göktürk Professor Mark Sandberg Spring 2016 1 Abstract Inside in the City: Domestic Space in the Literature and Film of Weimar Berlin by Courtney C. Johnson Doctor of Philosophy in German Designated Emphasis in Film Studies University of California, Berkeley Professor Anton Kaes, Chair This dissertation explores the relationship between domestic interiors and urban exteriors in Weimar literature and film. Interiors have been neglected in scholarship about Weimar Großstadtliteratur (big-city literature); scholars have focused on the street scene and the psychological effects of industrial capitalism, urbanization, and commodification. While many architecture and design theorists of the time engaged with interiors as part of a plan to modernize and thus create a new city—and society—the interiors they imagined for the Neues Wohnen (New Dwelling) are conspicuously absent from contemporary novels and films. One finds instead interiors like those of the previous century. I argue that the persistence of nineteenth-century interiors in novels and films about Weimar Berlin uncovers the tensions inherent in modern city living. The expectation of what it was like to “live” in the fictional home differs from the New Dwelling of “real- world” homes. Despite their differences, both ways of dealing with modernity seek understanding and control of the urban environment. -
Barbara Hammer, 70 Years Old, Hands the Camera to Gina Carducci, a Young Queer Film- Maker
Generations is a film about mentoring and passing on the tradi- tion of personal experimental filmmaking. Barbara Hammer, 70 years old, hands the camera to Gina Carducci, a young queer film- maker. Shooting during the last days of Astroland at Coney Is- land, New York, the filmmakers find that the inevitable fact of ageing echoes in the architecture of the amusement park and in the emulsion of the film medium itself. Editing completely sep- arately both picture and sound, the filmmakers join their films in the middle when they’ve finished, making a true generational and experimental experiment. In a time when digital dominates the art domain, a DIY aesthet- ic is embraced by Gina Carducci, a young thirty-year-old filmmak- er who hand processes 16mm film and a seventy-year-old pioneer of queer experimental cinema, Barbara Hammer. Hammer invites Carducci to collaborate on a new film, Generations. Barbara Hammer Celebrating Hammer’s spontaneous shooting style and dense ed- Maya Deren’s Sink iting montage with Carducci’s studied cinematography, the two filmmakers, generations apart in age, shoot the last days of Astro- land in Coney Island, New York. The aged but vibrant amusement Eine Hommage an die Mutter des amerikanischen Avantgarde- park, characteristic of the 70-year-old Hammer, is a fitting envi- films. Der Film beschwört durch Gespräche mit WeggefährtInnen ronment for the photoplay of the two Bolex filmmakers. und ZeitgenossInnen den Geist einer überlebensgroßen Person. Teiji Itos Familie, Carolee Schneemann und Judith Malvina schwe- Inspired by the revolutionary Shirley Clarke film,Bridges Go ben durch Derens Wohnorte und erinnern sich an kleinste Details Round (1953), where Clarke printed the same footage twice us- der architektonischen und persönlichen Innenräume. -
On the Threshold of the Holocaust: Anti-Jewish Riots and Pogroms In
Geschichte - Erinnerung – Politik 11 11 Geschichte - Erinnerung – Politik 11 Tomasz Szarota Tomasz Szarota Tomasz Szarota Szarota Tomasz On the Threshold of the Holocaust In the early months of the German occu- volume describes various characters On the Threshold pation during WWII, many of Europe’s and their stories, revealing some striking major cities witnessed anti-Jewish riots, similarities and telling differences, while anti-Semitic incidents, and even pogroms raising tantalising questions. of the Holocaust carried out by the local population. Who took part in these excesses, and what was their attitude towards the Germans? The Author Anti-Jewish Riots and Pogroms Were they guided or spontaneous? What Tomasz Szarota is Professor at the Insti- part did the Germans play in these events tute of History of the Polish Academy in Occupied Europe and how did they manipulate them for of Sciences and serves on the Advisory their own benefit? Delving into the source Board of the Museum of the Second Warsaw – Paris – The Hague – material for Warsaw, Paris, The Hague, World War in Gda´nsk. His special interest Amsterdam, Antwerp, and Kaunas, this comprises WWII, Nazi-occupied Poland, Amsterdam – Antwerp – Kaunas study is the first to take a comparative the resistance movement, and life in look at these questions. Looking closely Warsaw and other European cities under at events many would like to forget, the the German occupation. On the the Threshold of Holocaust ISBN 978-3-631-64048-7 GEP 11_264048_Szarota_AK_A5HC PLE edition new.indd 1 31.08.15 10:52 Geschichte - Erinnerung – Politik 11 11 Geschichte - Erinnerung – Politik 11 Tomasz Szarota Tomasz Szarota Tomasz Szarota Szarota Tomasz On the Threshold of the Holocaust In the early months of the German occu- volume describes various characters On the Threshold pation during WWII, many of Europe’s and their stories, revealing some striking major cities witnessed anti-Jewish riots, similarities and telling differences, while anti-Semitic incidents, and even pogroms raising tantalising questions. -
New and Old Tendencies in Labour Mediation Among Early Twentieth-Century US and European Composers
Anna G. Piotrowska New and Old Tendencies in Labour Mediation among Early Twentieth-Century U.S. and European Composers: An Outline of Applied Attitudes1 Abstract: New and Old Tendencies in Labour Mediation among Early Twen- tieth-Century U.S. and European Composers: An Outline of Applied Atti- tudes.This paper presents strategies used by early twentieth-century compos- ers in order to secure an income. In the wake of new economic realities, the Romantic legacy of the musician as creator was confronted by new expecta- tions of his position within society. An analysis of written accounts by com- posers of various origins (British, German, French, Russian or American), including their artistic preferences and family backgrounds, reveals how they often resorted to jobs associated with musicianship such as conducting or teaching. In other cases, they willingly relied on patronage or actively sought new sources of employment offered by the nascent film industry and assorted foundations. Finally, composers also benefited from organized associations and leagues that campaigned for their professional recognition. Key Words: composers, 20th century, employment, vacation, film industry, patronage, foundations Introduction Strategies undertaken by early twentieth-century composers to secure their income were highly determined by their position within society.2 Already around 1900, composers confronted a new reality: the definition of a composer inherited from earlier centuries no longer applied. As will be demonstrated by an analysis of their Anna G. Piotrowska, Institute of Musicology, the Jagiellonian University (Krakow), ul. Westerplatte 10, PL-31-033 Kraków; [email protected] ÖZG 24 | 2013 | 1 131 memoirs, diaries and correspondence, those educated as professional musicians and determined to make their living as active composers had to deal with similar career challenges – regardless of their origins (British, German, French, Russian or Ameri- can), their artistic preferences, or their family backgrounds. -
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DREIGROSCHENHEFT INFORMATIONEN ZU BERTOLT BRECHT EINZELHEFT 19. JAHRGANG 3,– EURO HEFT 1/2012 BRECHT FESTIVAL IN AUGSBURG: DAS PROGRAMM DIE „STANDARTE DES MITLEIDS“ – GEFUNDEN REPLIKEN ZU RUTH BERLAU REGINE LUTZ (FOTO) IM ARCHIV DER ADK Brechtshop_Anzeige-3GH 12.01.2010 11:48 Uhr Seite 1 Brecht Shop FÓR3IEIM3TADTRAT „Das Denken gehört zu den größten Vergnügungen _NDERE der menschlichen Rasse.“ DIE7ELT Bertolt Brecht SIE Hier erhalten Sie alle lieferbaren Bücher, BRAUCHTES"ERTOLT"RECHT CDs, DVDs, Hörbücher und die berühmte Spieluhr zur Dreigroschenoper. 30$ 3TADTRATSFRAKTION!UGSBURG 2ATHAUS!UGSBURG4EL &AX Brecht Shop · Obstmarkt 11 · 86152 Augsburg · Telefon (0821) 518804 INFO SPD FRAKTION AUGSBURGDEWWWSPD FRAKTION AUGSBURGDE www.brechtshop.de · E-Mail: [email protected] Anz_Brecht_SPD_A5.indd 1 12.03.2009 9:34:14 Uhr INHALT Editorial .. .2 FREUNDSCHAFT Impressum. .. .. .. .. .. .. .. .. .. .. .. 2 Betreff:.Artikel.über.Ruth.Berlau .. 28 Von Barbara Brecht-Schall BRECHT FESTIVAL AUGSBURG 2012 Borderline.ist.nicht.ehrabschneidend. .. .. .. 29 Brecht.heute . .. .. .. .. .. .. .. .. .. .. .. 3 Ein.Arzt.der.Charité.erinnert.sich.an.. Was.Brecht.für.mich.heute.bedeutet? Ruth.Berlau.und.Bertolt.Brecht.. 33 Von Gregor Gysi Von Sabine Kebir Programm-Übersicht.. Anregungen.zu.den.Ausführungen.von.Hilda. Brecht.Festival.Augsburg.2012. .. .. .. .. .. .. 6 Hoffmann. .. .. .. .. .. .. .. .. .. .. .. 35 Interview.mit.David.Benjamin.Brückel. .. .. .. 8 Von Will Sebode „Maßnahme“.und.„Augsburger.Kreidekreis“.. beim.Brecht.Festival.Augsburg.2012:.. BRECHT UND KUNST Der.Regisseur.gibt.Auskunft „Der.Herr.der.Fische“.aus.Buenos.Aires.. 36 Von Volkmar Häußler BRECHT UND MUSIK Die.Standarte.des.Mitleids.–.gefunden . .. .. .. 11 BRECHTARCHIV Von Mautpreller und Joachim Lucchesi Regine.Lutz.im.Archiv.der.AdK. .. .. .. .. .. 38 KLEINE HINWEISE (III) Regine.Lutz. .. .. .. .. .. .. .. .. .. .. .. 39 Von Klaus Völker 1 ..Brechts.„Aufruf.für.Henri.Guilbeaux“. -
Literature and Film of the Weimar Republic (In English Translation) OLLI@Berkeley, Spring 2019 Mondays, April 1—29, 2019 (5 Weeks), 10:00 A.M
Instructor: Marion Gerlind, PhD (510) 430-2673 • [email protected] Literature and Film of the Weimar Republic (in English translation) OLLI@Berkeley, Spring 2019 Mondays, April 1—29, 2019 (5 weeks), 10:00 a.m. — 12:30 p.m. University Hall 41B, Berkeley, CA 94720 In this interactive seminar we shall read and reflect on literature as well as watch and discuss films of the Weimar Republic (1919–33), one of the most creative periods in German history, following the traumatic Word War I and revolutionary times. Many of the critical issues and challenges during these short 14 years are still relevant today. The Weimar Republic was not only Germany’s first democracy, but also a center of cultural experimentation, producing cutting-edge art. We’ll explore some of the most popular works: Bertolt Brecht and Kurt Weill’s musical play, The Threepenny Opera, Joseph von Sternberg’s original film The Blue Angel, Irmgard Keun’s bestseller The Artificial Silk Girl, Leontine Sagan’s classic film Girls in Uniform, Erich Maria Remarque’s antiwar novel All Quiet on the Western Front, as well as compelling poetry by Else Lasker-Schüler, Gertrud Kolmar, and Mascha Kaléko. Format This course will be conducted in English (films with English subtitles). Your active participation and preparation is highly encouraged! I recommend that you read the literature in preparation for our sessions. I shall provide weekly study questions, introduce (con)texts in short lectures and facilitate our discussions. You will have the opportunity to discuss the literature/films in small and large groups. We’ll consider authors’ biographies in the socio-historical background of their work. -
CV AV Für Wikipedia (FV) 1 Anton Voigt Ist Ein
CV AV für wikipedia (FV) 1 Anton Voigt ist ein österreichischer Pianist und Musikwissenschaftler (geb. 1947). Ausbildung Nach erstem Musikunterricht durch den Vater (Violine) erhielt Anton Voigt eine umfassende musikalische Ausbildung in den Fächern Klavier, Orgel, Komposition, Dirigieren und Schulmusik am Innsbrucker Konservatorium. Prägend war die Begegnung mit der amerikanischen Pianistin Margot Pinter, mit der er von 1974 bis zu ihrem Tod 1982 verheiratet war. Privatunterricht in Paris bei Yvonne Lefebure, der ehemaligen Assistentin Alfred Cortots, und Meisterkurse bei Lefebure und Wilhelm Kempff dienten der Vorbereitung auf eine Pianistenlaufbahn. Musikwissenschaftliche Studien in Salzburg und Wien, vor allem bei Gernot Gruber und Walter Pass, ergänzten und erweiterten sein musikalisches Denken. Konzerttätigkeit Als Pianist debütierte Anton Voigt im Rahmen der Innsbrucker Jugendkulturwoche 1968 mit einer Aufführung des Ludus tonalis von Paul Hindemith, was ihm ein Stipendium für die Darmstädter Ferienkurse für Neue Musik vermittelte. Der Neuen Musik blieb der Pianist in den Folgejahren in seiner Konzerttätigkeit mit Debüts in Wien (Brahmssaal), London (Wigmore Hall) und Warschau (alle 1974) treu. Es folgten Auftritte beim Carinthischen Sommer, dem Klangbogen Wien, dem Cardiff Music Festival, dem Oxford Wellesz Centenary Festival, dem Manchester Piano Festival. Live-Mitschnitte und Studioproduktionen liegen beim ORF, bei der BBC Cardiff, dem BRT Brüssel, der SRG Zürich und Lausanne vor. Als Solist war Voigt unter anderen mit dem Spoleto Festival Orchestra, dem Bruckner Orchester Linz und dem Barockorchester L’arpa festante München tätig. Ein Repertoire-Schwerpunkt war und ist die Musik der Zweiten Wiener Schule (Erstaufführung der nachgelassenen Webern-Klavierstücke in mehreren europäischen Ländern) und des Umkreises (sämtliche Klavierkompositionen von Egon Wellesz an zwei Abenden, Hans Erich Apostel, Hanns Eisler). -
Revolutionsliteratur 1919-2019. Eine Kleine Geschichte Politischer Vereinnah- Mungen
undercurrents – Forum für linke Literaturwissenschaft Sommer 2019 Revolutionsliteratur 1919-2019. Eine kleine Geschichte politischer Vereinnah- mungen Steffen Hendel Die gescheiterte deutsche Revolution von 1919 mitsamt ihren Akteur_innen scheint in der gegenwärtigen literarischen und literaturwissenschaftlichen Auseinanderset- zung wenn nicht abwesend, so doch marginalisiert. Wenn überhaupt kommen Au- tor_innen, Zeitschriften, einzelne Titel der 1919er nur anlässlich des 100jährigen Ju- biläums der Revolution wieder in den Blick einzelner Forschungsvorhaben und der bildungsbürgerlichen Öffentlichkeit. Der Grund für die relative Abwesenheit der künstlerischen Produkte und Ideen jener Zeit ist fraglos der, dass sie von der heuti- gen Wissenschaft, Bildungprogrammen im weiteren Sinn und dem privaten Lesein- teresse als politisch anachronistisch bewertet werden. Wenn jedoch kritisch festge- stellt wird, 1919er Literatur sei heutigentags erstaunlich wenig präsent, spricht sich auch ein anderer Gedanke aus. Es ist die Idee eines Wirkungszusammenhangs, wo- rüber sich womöglich alle, ungeachtet politischer Gegensätzlichkeiten, sogar einig sind. Demnach erwachse aus der revolutionären, kommunistischen Literatur der 1919er selbst eine notwendige Bedingung oder gar die Potenz zur Verwirklichung ihrer darin vertretenen Inhalte. Der Aufsatz will dabei den Zusammenhang von links-revolutionärer Literaturauffassung, ihrer Ästhetik und der Möglichkeit bzw. Praxis sogar politisch gegenteiliger Interpretation beleuchten. Das soll mit Blick auf ausgesuchte Texte und Autor_innen der revolutionären Literatur der 1919er und ins- besondere den Malik Verlag Berlin geschehen, die, auch nach seinem Ende 1947, bis in die Gegenwart verlegt werden. 1 undercurrents – Forum für linke Literaturwissenschaft Sommer 2019 1919 und proletarisch-revolutionäre Literatur Mit den politischen Kämpfen am und nach dem Ende des Ersten Weltkriegs zeigte sich die Heterogenität der gesellschaftlichen Bewegungen, die bis gerade eben noch als eine einheitliche gesellschaftliche Kraft erschienen sein mochten. -
VNM Orchester 2015 Cover.Indd
Verlag Neue Musik Orchesterkatalog 2015 TNeue Musik TKlassische Musik Leihmaterial * Hire Materiala Matériaux de Locationo Verlag Neue Musik Berlin Verlag Neue Musik TInhalt * Contents * Table des Matières Seite/Page Abkürzungsverzeichnis * Abbreviations * Abréviations 2 Leihmaterial Legende * Legend * Légende 2 Neuerscheinungen 2015 I bis XII T Klassische Musik Werke nach Komponisten 3 Werke nach Komponisten * Works listed by composer * OEuvres selon les compositeurs T Neue Musik Werke nach Besetzungen * Works according to 46 (Orchester) instrumentation * OEuvres selon les instruments Orchester * Orchestra * Orchestre 46 Kammerorchester * Chamber orchestra * Orchestre de chambre 51 T Neue Musik Streichorchester * String orchestra * Orchestre à cordes 52 (Kammermusik) Gitarrenorchester * Guitar orchestra * Orchestre de guitares 53 Zupforchester * Plugged string orchestra * Orchestre à cordes pincées 53 Blasorchester * Wind orchestra * Orchestre à vent 53 Klavier und Orchester * Piano and orchestra * Piano et orchestre 53 Cembalo und Orchester * Harpsichord and orchestra * Clavecin et orchestre 54 Orgel und Orchester * Organ and orchestra * Orgue et orchestre 54 Violine und Orchester * Violin and orchestra * Violon et orchestre 54 Viola und Orchester * Viola and orchestra * Alto et orchestre 55 Violoncello und Orchester * Violoncello and orchestra * Violoncelle et orchestre 55 Kontrabass und Orchester * Double bass and orchestra * Contrebasse et orchestre 55 Flöte und Orchester * Flute and orchestra * Flûte et orchestre 55 Verlag Neue -
Strange Contracts: Elfriede Jelinek and Michael Haneke VICKY LEBEAU
Strange Contracts: Elfriede Jelinek and Michael Haneke VICKY LEBEAU Abstract: This essay explores the representation of sexuality and vision in Elfriede Jelinek’s Die Klavierspielerin [The Piano Teacher] (1983) and Michael Haneke’s La Pianiste (2001). In its focus on the relation between Mother and Erika, Die Klavierspielerin brings right to the fore the grounding of both sexuality and visuality in the ongoing ties between mother and child. Displac- ing that novel onto the screen, Haneke redoubles its focus on vision. It is in the convergence between the two that we can begin to explore what may be described as the maternal dimension of the various technologies of vision that have come to pervade the everyday experience of looking—their effect on our ways of understanding the relations between visuality and selfhood, visuality and mind. Keywords: feminism, Michael Haneke, Elfriede Jelinek, The Piano Teacher, pornography, psychoanalysis, psychoanalytic film theory, sadomasochism, The Seventh Continent, sexuality, spectatorship, vision, visual culture, voyeur- ism, D. W. Winnicott Why would a woman welcome her own murder? Not her own death, simply, not even her suicide, but her murder, the loss of her life at the hands of another? To read Elfriede Jelinek’s Die Klavierspielerin [The Piano Teacher], first published in 1983, is to be caught up in that question, its wayward implication in a woman’s pursuit of pleasure, of a “life of her own,” which for much of the book, appears to be possible only in, and through, her eyes. “All Erika wants to do is watch”; “[S] he simply wants to sit there and look. -
5. Calling for International Solidarity: Hanns Eisler’S Mass Songs in the Soviet Union
From Massenlieder to Massovaia Pesnia: Musical Exchanges between Communists and Socialists of Weimar Germany and the Early Soviet Union by Yana Alexandrovna Lowry Department of Music Duke University Date:_______________________ Approved: ___________________________ Bryan Gilliam, Supervisor ___________________________ Edna Andrews ___________________________ John Supko ___________________________ Jacqueline Waeber Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2014 i v ABSTRACT From Massenlieder to Massovaia Pesnia: Musical Exchanges between Communists and Socialists of Weimar Germany and the Early Soviet Union by Yana Alexandrovna Lowry Department of Music Duke University Date:_______________________ Approved: ___________________________ Bryan Gilliam, Supervisor ___________________________ Edna Andrews ___________________________ John Supko ___________________________ Jacqueline Waeber An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2014 Copyright by Yana Alexandrovna Lowry 2014 Abstract Group songs with direct political messages rose to enormous popularity during the interwar period (1918-1939), particularly in recently-defeated Germany and in the newly- established Soviet Union. This dissertation explores the musical relationship between these two troubled countries and aims to explain the similarities and differences in their approaches to collective singing. The discussion of the very complex and problematic relationship between the German left and the Soviet government sets the framework for the analysis of music. Beginning in late 1920s, as a result of Stalin’s abandonment of the international revolutionary cause, the divergences between the policies of the Soviet government and utopian aims of the German communist party can be traced in the musical propaganda of both countries.