GERMAN MASQUERADE Part 2
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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. -
A Study of the Space That Shaped Weimar Berlin Carrie Grace Latimer Scripps College
Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2014 The lotP s of Alexanderplatz: A Study of the Space that Shaped Weimar Berlin Carrie Grace Latimer Scripps College Recommended Citation Latimer, Carrie Grace, "The lotsP of Alexanderplatz: A Study of the Space that Shaped Weimar Berlin" (2014). Scripps Senior Theses. Paper 430. http://scholarship.claremont.edu/scripps_theses/430 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. THE PLOTS OF ALEXANDERPLATZ: A STUDY OF THE SPACE THAT SHAPED WEIMAR BERLIN by CARRIE GRACE LATIMER SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS PROFESSOR MARC KATZ PROFESSOR DAVID ROSELLI APRIL 25 2014 Latimer 2 TABLE OF CONTENTS Acknowledgements 3 Introduction 4 Chapter One: Berlin Alexanderplatz: The Making of the Central Transit Hub 8 The Design Behind Alexanderplatz The Spaces of Alexanderplatz Chapter Two: Creative Space: Alfred Döblin’s Berlin Alexanderplatz 23 All-Consuming Trauma Biberkopf’s Relationship with the Built Environment Döblin’s Literary Metropolis Chapter Three: Alexanderplatz Exposed: Rainer Werner Fassbinder’s Film 39 Berlin from Biberkopf’s Perspective Exposing the Subterranean Trauma Conclusion 53 References 55 Latimer 3 Acknowledgements I wish to thank all the people who contributed to this project. Firstly, to Professor Marc Katz and Professor David Roselli, my thesis readers, for their patient guidance, enthusiastic encouragement and thoughtful critiques. -
Soundscapes of the Urban Past
Sounds Familiar Intermediality and Remediation in the Written, Sonic and Audiovisual Narratives of Berlin Alexanderplatz Andreas Fickers, Jasper Aalbers, Annelies Jacobs and Karin Bijsterveld 1. Introduction When Franz Biberkopf, the protagonist of Alfred Döblin’s novel Berlin Alexanderplatz steps out of the prison in Tegel after four years of imprisonment, »the horrible moment« has arrived. Instead of being delighted about his reclaimed liberty, Biberkopf panics and feels frightened: »the pain commences«.1 He is not afraid of his newly gained freedom itself, however. What he suffers from is the sensation of being exposed to the hectic life and cacophonic noises of the city – his »urban paranoia«.2 The tension between the individual and the city, between the inner life of a character and his metropolitan environment is of course a well established topic in the epic litera- ture of the nineteenth century, often dramatized by the purposeful narrative confronta- tion between city life and its peasant or rural counterpoint.3 But as a new literary genre, the Großstadtroman, or big city novel, only emerges in the early twentieth century, and Döblin’s Berlin Alexanderplatz is often aligned with Andrei Bely’s Petersburg (1916), James Joyce’s Ulysses (1922) or John Dos Passos’s Manhattan Transfer (1925) as an outstanding example of this new genre.4 What distinguishes these novels from earlier writings dealing with the metropolis is their experimentation with new forms of narra- tive composition, often referred to as a »cinematic style« of storytelling. At the same time, however, filmmakers such as David W. Griffiths and Sergei Eisenstein developed 1 Döblin 1961, 13. -
"Berlin-Alexanderplatz" by Alfred Döblin
ISSN 2414-8385 (Online) European Journal of January-April 2018 ISSN 2414-8377 (Print Multidisciplinary Studies Volume 3, Issue 2 Prison as a Heterotopia in the Roman "Berlin-Alexanderplatz" by Alfred Döblin Asst. Prof. Dr. Zennube Şahin Yılmaz Faculty of Philological, Atatürk University Abstract One of the biggest problems of modern times and modern literature is the big city. The big city problems are accepted as a motive of modern literature. These problems and the prison are concretized in the novel "Berlin- Alexanderplatz" by Alfred Döblin. The prison in the novel is taken with regard to Michel Foucault's heterotopic perspective or concept. On this occasion stands the relationship of the main character with the prison in the foreground in the analysis of the novel. The society is the origin of the mental problems of the figure seen in the novel. The figure is in a confrontation with society and actually with itself. Because of this, the complexity of the subject with society is taken into consideration by the perception of the city and the attempt to overcome the urban problems. The figure seeks for itself a space other than society. The prison is referred to as another room and the meaning of the prison is described as heterotopia. In addition, the novel is analyzed with Döblin's language or narrative style. Because the construction of the novel gives the narrator a special value. From the narrator, the heterotopic meaning of the prison is elucidated. Keywords: Heterotopia -Prison, society, mental problems. Introduction The meaning of spaces or perception of space is changing nowadays. -
Mountains Oceans Giants Manas
Beyond Alexanderplatz FOR THE FIRST TIME IN ENGLISH – TWO ASTONISHING FICTIONAL WORLDS FROM WEIMAR GERMANY MOUNTAINS OCEANS GIANTS (A Dystopia of the 27th Century) and MANAS (A Himalayan Epic in Verse) Translated and introduced by C.D. Godwin April 2020 www.beyond-alexanderplatz.com CONTENTS 1. Why this Introduction? 1 2. Döblin’s life and works 2.1 Alfred Döblin 1878-1957 2 2.2 Döblin’s epic fictions 3 2.3 ‘Happy 140th, Alfred Döblin!’ 4 3. Mountains Oceans Giants [MOG] (1924) 3.1 Alfred Döblin (1941): MOG as a Hollywood film 6 3.2 Gabriele Sander (2013): ‘Afterword’ 13 3.3 Alfred Döblin (1924): ‘Remarks on MOG’ 25 3.4 K. Müller-Salget (1988): Excerpts from Alfred Döblin: Werk and Entwicklung 31 3.5 C.D. Godwin (2019): Why I decided to abridge the English translation 37 4. Manas- a Himalayan Epic (1926) 4.1 C.D. Godwin: The vanished masterpiece 39 4.2 Heinz Graber (1972): On the style of Manas 41 4.2 Four Reviews of Manas – a) Robert Musil (1927) 51 b) Oskar Loerke (1928) 55 c) Axel Eggebrecht (1927) 57 d) W.von Einsiedl (1928) 58 WHY THIS INTRODUCTION? Since his death in 1957, Alfred Döblin’s reputation has grown as one of the 20th century’s great German-language Modernists. A stream of dissertations, monographs reviews and biographies has familiarised German literary journalists and readers with Döblin and his oeuvre, and encouraged the publication of smart new editions (currently the well-curated series from Fischer Klassik). Elsewhere in the world Döblin remains obscure. -
Berlin Transfer – the Itc Y on Roads and Rails Mikael A
Washington University in St. Louis Washington University Open Scholarship Arts & Sciences Electronic Theses and Dissertations Arts & Sciences Spring 5-2016 Berlin Transfer – The itC y on Roads and Rails Mikael A. Olsson Berggren Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/art_sci_etds Part of the German Literature Commons Recommended Citation Olsson Berggren, Mikael A., "Berlin Transfer – The itC y on Roads and Rails" (2016). Arts & Sciences Electronic Theses and Dissertations. 712. https://openscholarship.wustl.edu/art_sci_etds/712 This Thesis is brought to you for free and open access by the Arts & Sciences at Washington University Open Scholarship. It has been accepted for inclusion in Arts & Sciences Electronic Theses and Dissertations by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Germanic Languages and Literatures Berlin Transfer – The City on Roads and Rails by Mikael Andreas Olsson Berggren A thesis presented to the Graduate School of Arts & Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2016 St. Louis, Missouri Table of Contents LIST OF FIGURES ...................................................................................................................................... III ACKNOWLEDGMENTS .................................................................................................................................. -
Narrative, Adaptation and Urban Modernity in Alfred Döblin’S Berlin Alexanderplatz
University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/67648 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. Montage Aesthetics: Narrative, Adaptation and Urban Modernity in Alfred Döblin’s Berlin Alexanderplatz by Mario Slugan A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Film & Television Studies and German Studies University of Warwick, Departments of Film and Television Studies, and German Studies October 2014 Contents LIST OF FIGURES AND TABLES ........................................................................ IV ACKNOWLEDGEMENTS ..................................................................................... VI DECLARATION ...................................................................................................... VII ABSTRACT ............................................................................................................ VIII INTRODUCTION........................................................................................................ 1 LITERATURE REVIEW .......................................................................................... 13 SCHOLARSHIP ON MONTAGE ..................................................................................................... -
Dollendorf: Elegant Presentation of the Two Early Novels, and Several Insightful Interpretive Comments, but Does Not Fulfill W
Dollinger, Roland, Wulf Koepke, and Heidi Thomann Tewarson, eds. A Companion to the Works of Alfred Döblin. Rochester: Camden House, 2004. 309 pp. $85.00 cloth. Among the major modernist authors, few are so closely associated with a single work as is Alfred Döblin. Although he authored over a dozen novels and numerous stories, plays, radio dramas, and autobiographical texts, as well as essays on literary, philosophical and political topics, many non-specialists would be hard pressed to name a single work of Döblin’s beyond his great novel Berlin Alexanderplatz: Die Geschichte vom Franz Biberkopf. This imbalance existed to some extent even during Döblin’s lifetime. He had, to be sure, established his literary name as early as 1910, when his stories began to appear in Herwarth Walden’s Expressionist periodical Der Sturm, and a few of his novels enjoyed a degree of popular success (particularly his “Chinese novel” of 1915, Die drei Sprünge des Wang-lun). But the publication of Berlin Alexanderplatz in 1929 brought Döblin a new level of critical acclaim as well as commercial success: the novel sold more in the first weeks after its appearance than all of Döblin’s previous works combined and established him as one of the leading literary figures of the Weimar Republic. His career suffered severely with the collapse of the republic, however, and the works he produced in exile and after the war had a difficult time finding receptive audiences. The current volume attempts to address this imbalance and does an excellent job of introducing readers to the full range and at times baffling variety of Döblin’s production. -
Gelderloos, Carl Characters As Collectives in Döblin's Wallenstein
AUTHOR’S TYPESCRIPT. PLEASE CITE PUBLISHED VERSION: Gelderloos, Carl. “‘ErsAcken im Stofflichen.’ Characters as CollecAves in Alfred Döblin’s Wallenstein and his TheoreAcal WriAngs.” The German Historical Novel Since the 18th Century. Edited by Daniela Richter, Cambridge Scholars Publishing, 2016. CHAPTER FOUR “ERSTICKEN IM STOFFLICHEN”: CHARACTERS AS COLLECTIVES IN ALFRED DÖBLIN’S WALLENSTEIN AND HIS THEORETICAL WRITINGS CARL GELDERLOOS Alfred DöBlin’s lonG Historical novel Wallenstein, published in 1920, narrates the Thirty Years’ War from just after tHe Battle of WHite Mountain in 1620 to a mytHoloGized version of tHe deatH of HaBsBurG Emperor Ferdinand II in 1637. In DöBlin’s version, Ferdinand dies alone, in tHe forest, at tHe Hands of a GoBlin. As a representation of History, Wallenstein has occasioned praise and Befuddlement amonGst contemporaries and later critics for its suBversion of a clear Historical narrative and tHe way it overwHelms tHe easy discernment of causal relations, temporal sequence, and partisan aliGnments tHrouGH an accumulation of descriptive detail, accounts of mass processes, and complex involutions of interpersonal feuds—wHat DöBlin perHaps meant wHen He called for “TatsacHenpHantasie” ‘fantasy of fact’1 in 1913, and wHat tHe contemporary reviewer Lulu von Strauss und Torney duBBed tHe novel’s “Ersticken im StofclicHen” ‘suffocation in tHe material’ (qtd. in ScHuster and Bode 112–113). Wallenstein was seen as Grotesque and overwHelminG wHen it cirst appeared, its presentation totally out of joint witH tHe History -
Arthur Schnitzler Und Der Film - Bedeutung
Repositorium für die Medienwissenschaft Claudia Wolf Arthur Schnitzler und der Film - Bedeutung. Wahrnehmung. Beziehung. Umsetzung. Erfahrung. 2006 https://doi.org/10.25969/mediarep/3576 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Wolf, Claudia: Arthur Schnitzler und der Film - Bedeutung. Wahrnehmung. Beziehung. Umsetzung. Erfahrung.. Karlsruhe: Universitätsverlag Karlsruhe 2006. DOI: https://doi.org/10.25969/mediarep/3576. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons BY-NC-ND 2.0 This document is made available under a creative commons BY- Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz NC-ND 2.0 License. For more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/2.0 https://creativecommons.org/licenses/by-nc-nd/2.0 Claudia Wolf Arthur Schnitzler und der Film Bedeutung. Wahrnehmung. Beziehung. Umsetzung. Erfahrung. Arthur Schnitzler und der Film Bedeutung. Wahrnehmung. Beziehung. Umsetzung. Erfahrung. von Claudia Wolf Dissertation, Universität Karlsruhe (TH) Fakultät für Geistes- und Sozialwissenschaften, 2006 Referenten: Prof. Dr. Hansgeorg Schmidt-Bergmann, Prof. Dr. Jan Knopf Impressum Universitätsverlag Karlsruhe c/o Universitätsbibliothek Straße am Forum 2 D-76131 Karlsruhe www.uvka.de Dieses Werk ist unter folgender Creative Commons-Lizenz lizenziert: http://creativecommons.org/licenses/by-nc-nd/2.0/de/ Universitätsverlag Karlsruhe 2006 Print on Demand ISBN-13: 978-3-86644-058-6 ISBN-10: 3-86644-058-8 Arthur Schnitzler und der Film. Bedeutung. Wahrnehmung. Beziehung. Umsetzung. Erfahrung. Zur Erlangung des akademischen Grades eines DOKTORS DER PHILOSOPHIE (Dr. phil.) von der Fakultät für Geistes- und Sozialwissenschaften der Universität Karlsruhe angenommene DISSERTATION von Claudia Wolf aus 76135 Karlsruhe Dekan: Prof. -
The Musical Politics of 1920S Berlin by Dylan Neely
The Musical Politics of 1920s Berlin by Dylan Neely A Thesis submitted to the Faculty in partial fulfillment of the requirements for theatrical BACHELOR OF ARTS Accepted ____________________________________ Laurence Wallach, Thesis Advisor ____________________________________ Asma Abbas, Second Reader ____________________________________ Mary B. Marcy, Provost and Vice President Bard College at Simon's Rock Great Barrington, Massachusetts 2010 Contents INTRODUCTION. Politicized Art and Aestheticized Politics: The Weimar Republic's Tangle of Understanding 1 ONE. Spirituality and Power in Western Music 15 TWO. The Weimar Republic and Berlin 39 THREE. Wozzeck and Jonny spielt auf 64 FOUR. Kurt Weill and Die Zeitoper 98 FIVE. Ideological Tensions: Hanns Eisler and Paul Hindemith 144 CONCLUSION. 162 Appendix 1. “3. Dreigroschenfinale” from Die Dreigroschenoper 171 Appendix 2. “In Praise of Illegal Work” 178 Bibliography 187 Illustrations 1. “Entartete Musik” Nationalist Socialist Poster. 9 2. George Grosz, “The Stab in the Back from the Right.” (Courtesy of Lewis 156) 49 3. Otto Dix, “To Beauty.” 55 4. George Grosz, “For the Fatherland”/”To the Slaughterhouse.” (Courtesy of Lewis 84) 56 5. Cover of Jonny spielt auf Score 85 6. Photograph of Der Protagonist from its Dresden Production (Courtesy of Farneth 50) 116 7. Caspar Neher, Die Dreigroschenoper Set Sketch (Courtesy of Farneth 72) 130 Musical Examples 1. Wozzeck, measures 479 - 489, introduction of Doctor. 66 2. Jonny spielt auf, measures 1 – 9. 87 3. Jonny spielt auf, measures 558 – 579. 90 4. Jonny spielt auf, measures 2410 - 2417 (final chorus). 91 5. “Kanonen-Song” from Die Dreigroschenoper, measures 1 – 10. 131 6. "Morität von Mackie Messer" from Die Dreigroschenoper, measures 1 – 24.