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Copyright by Patricia Bujnoch 2018
Copyright by Patricia Bujnoch 2018 DESTRUCTION OF “UNWORTHY LIVES”: EUGENICS AND MEDICAL DISCOURSE IN WEIMAR AND THIRD REICH CINEMA by Patricia Bujnoch, BA THESIS Presented to the Faculty of The University of Houston-Clear Lake In Partial Fulfillment Of the Requirements For the Degree MASTER OF ARTS in History THE UNIVERSITY OF HOUSTON-CLEAR LAKE MAY, 2018 DESTRUCTION OF “UNWORTHY LIVES”: EUGENICS AND MEDICAL DISCOURSE IN WEIMAR AND THIRD REICH CINEMA by Patricia Bujnoch APPROVED BY __________________________________________ Barbara Hales, Ph.D., Chair __________________________________________ Angela Howard, Degree Ph.D., Committee Member APPROVED/RECEIVED BY THE COLLEGE OF HUMAN SCIENCES AND HUMANITIES Samuel Gladden, Ph.D., Associate Dean __________________________________________ Rick Short, Ph.D., Dean Acknowledgements First, I would like to express my sincere gratitude to Dr. Barbara Hales for her support of this thesis, and her patience, motivation, and vast knowledge. Her encouragement throughout my studies at the University of Houston-Clear Lake and especially during the research and writing process was vital to this accomplishment. Additionally, I would also like to acknowledge Dr. Angela Howard as the second reader of this thesis. I am grateful for her valuable advice and willingness to support this work. Finally, I must thank my family, namely my husband and my sons, for demonstrating unlimited patience, understanding, and continuous support throughout my years of studying, researching, and writing this thesis. The support of my family made this reaching this goal a reality. iv ABSTRACT DESTRUCTION OF “UNWORTHY LIVES”: EUGENICS AND MEDICAL DISCOURSE IN WEIMAR AND THIRD REICH CINEMA Patricia Bujnoch University of Houston-Clear Lake, 2018 Thesis Chair: Barbara Hales This project tracks the eugenic discourse of the 1920s through the Nazi era, and analyzes the eugenic links within mainstream Weimar and Nazi films. -
Mind-Crafting: Anticipatory Critique of Transhumanist Mind-Uploading in German High Modernist Novels Nathan Jensen Bates a Disse
Mind-Crafting: Anticipatory Critique of Transhumanist Mind-Uploading in German High Modernist Novels Nathan Jensen Bates A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2018 Reading Committee: Richard Block, Chair Sabine Wilke Ellwood Wiggins Program Authorized to Offer Degree: Germanics ©Copyright 2018 Nathan Jensen Bates University of Washington Abstract Mind-Crafting: Anticipatory Critique of Transhumanist Mind-Uploading in German High Modernist Novels Nathan Jensen Bates Chair of the Supervisory Committee: Professor Richard Block Germanics This dissertation explores the question of how German modernist novels anticipate and critique the transhumanist theory of mind-uploading in an attempt to avert binary thinking. German modernist novels simulate the mind and expose the indistinct limits of that simulation. Simulation is understood in this study as defined by Jean Baudrillard in Simulacra and Simulation. The novels discussed in this work include Thomas Mann’s Der Zauberberg; Hermann Broch’s Die Schlafwandler; Alfred Döblin’s Berlin Alexanderplatz: Die Geschichte von Franz Biberkopf; and, in the conclusion, Irmgard Keun’s Das Kunstseidene Mädchen is offered as a field of future inquiry. These primary sources disclose at least three aspects of the mind that are resistant to discrete articulation; that is, the uploading or extraction of the mind into a foreign context. A fourth is proposed, but only provisionally, in the conclusion of this work. The aspects resistant to uploading are defined and discussed as situatedness, plurality, and adaptability to ambiguity. Each of these aspects relates to one of the three steps of mind- uploading summarized in Nick Bostrom’s treatment of the subject. -
German and Dutch Courses
Course Descriptions for German Courses Spring 2017 See also our courses listed under Literature in Translation. ----------------------------- German 101 First Semester German, 4 credits 001 09:55 AM 10:45 AM MTWRF 002 11:00 AM 11:50 AM MTWRF 003 11:00 AM 11:50 AM MTWRF 004 12:05 PM 12:55 PM MTWRF 005 01:20 PM 02:10 PM MTWRF 006 03:30 PM 04:50 PM MWR Prerequisites: None. (This course is also offered for graduate students as German 401.) Presumes no knowledge of the German language. In the course students learn basic vocabulary around topics such as classroom objects, daily routines, descriptions of people and objects, simple narration in present time, etc. German 101 covers material presented in the textbook VORSPRUNG from Kapitel 1 to Kapitel 6. Students read and discuss “real” texts (written by and for native) speakers from the start. Grammar is explained using examples from these texts as well as from a graphic novel, told in installments, that traces the journey of an American exchange student, Anna Adler, to the university in Tübingen as well as her adventures once there. The course also offers basic cultural insights and comparisons that are further elaborated on in second-year courses. Testing is done in increments of chapter quizzes; there is no mid- term and no traditional final exam. Students also complete writing & reading assignments as well as matching assessments, all with a take-home component. There are two oral projects. Class participation is encouraged and an attendance policy is in place. This course cannot be audited. -
Und Dooh Ist Vielleioht Niemand Inniger Damit Verbunden Als Ich
Durham E-Theses Sie haben mich immer in der Zuruckgesogenheit meiner Lebensart fur isoliert von der welt gehalten; und dooh ist vielleioht niemand inniger damit verbunden als ich Von Kleist, Heinrich How to cite: Von Kleist, Heinrich (1958) Sie haben mich immer in der Zuruckgesogenheit meiner Lebensart fur isoliert von der welt gehalten; und dooh ist vielleioht niemand inniger damit verbunden als ich, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/9727/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 "Sie haben mich immer in der ZurLiokgesogenheit meiner Lebensart tUr isoliert von der Welt sehaltan; und dooh ist vielleioht niemand inniger dami t verbunden ala ioh." HEINRICH VON KLEIST. The copyright of this thesis rests with the author. No quotation from it should be published without his prior written consent and information derived from it should be acknowledged. -
Mitteilungen Für Die Presse
Read the speech online: www.bundespraesident.de Page 1 of 4 Federal President Frank-Walter Steinmeier in a video message for the digital ceremony “Thinker, Poet, Democrat. Heinrich Mann on his 150th Birthday” in Berlin on 25 March 2021 Good evening from Schloss Bellevue, wherever you are tuning in from. This is not the first time that Berlin’s Academy of the Arts is hosting a ceremony in Heinrich Mann’s honour. In March 1931, invitations were issued for an event on the premises of the Prussian Academy of Arts to congratulate the newly elected Chairman of its Literature Section on his 60th birthday. The guests at the time included Ricarda Huch and Alfred Döblin, and the speakers were Max Liebermann, Adolf Grimme and Thomas Mann. They hailed the great man as a modern artist and “clandestine politician”, as a “grand écrivain” and “European moralist”. That was how the writer Heinrich Mann was feted at the time, in the Weimar Republic. What a wonderful, illustrious gathering to mark his birthday. Today, the Academy of the Arts has issued another invitation to honour Heinrich Mann, this time on his 150th birthday. The setting is, for various reasons, slightly different than it was back then, with a livestream as opposed to a gala reception, a video message as opposed to a speech, and the Federal President in attendance as opposed to the great man’s brother and Nobel Laureate. Nevertheless, I am delighted that we want to try this evening to revive the spirit of Heinrich Mann and his age. We want to take a closer look at a writer, who after his death in 1950 was co opted by the GDR for its own political ends, who was eclipsed in West Germany by his renowned younger brother, and who is not forgotten yet whose works are seldom read today. -
Dissertation Committee for Michael James Schmidt Certifies That This Is the Approved Version of the Following Dissertation
Copyright by Michael James Schmidt 2014 The Dissertation Committee for Michael James Schmidt certifies that this is the approved version of the following dissertation: The Multi-Sensory Object: Jazz, the Modern Media, and the History of the Senses in Germany Committee: David F. Crew, Supervisor Judith Coffin Sabine Hake Tracie Matysik Karl H. Miller The Multi-Sensory Object: Jazz, the Modern Media, and the History of the Senses in Germany by Michael James Schmidt, B.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin In Partial Fulfillment Of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2014 To my family: Mom, Dad, Paul, and Lindsey Acknowledgements I would like to thank, above all, my advisor David Crew for his intellectual guidance, his encouragement, and his personal support throughout the long, rewarding process that culminated in this dissertation. It has been an immense privilege to study under David and his thoughtful, open, and rigorous approach has fundamentally shaped the way I think about history. I would also like to Judith Coffin, who has been patiently mentored me since I was a hapless undergraduate. Judy’s ideas and suggestions have constantly opened up new ways of thinking for me and her elegance as a writer will be something to which I will always aspire. I would like to express my appreciation to Karl Hagstrom Miller, who has poignantly altered the way I listen to and encounter music since the first time he shared the recordings of Ellington’s Blanton-Webster band with me when I was 20 years old. -
An Introduction to the Songs of Felix Wolfes (1892-1971) with Complete Chronological Catalogue
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1995 An Introduction to the Songs of Felix Wolfes (1892-1971) With Complete Chronological Catalogue. Viola R. Dacus Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Dacus, Viola R., "An Introduction to the Songs of Felix Wolfes (1892-1971) With Complete Chronological Catalogue." (1995). LSU Historical Dissertations and Theses. 6004. https://digitalcommons.lsu.edu/gradschool_disstheses/6004 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
Proquest Dissertations
The saxophone in Germany, 1924-1935 Item Type text; Dissertation-Reproduction (electronic) Authors Bell, Daniel Michaels Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 01/10/2021 07:49:44 Link to Item http://hdl.handle.net/10150/290020 THE SAXOPHONE IN GERMANY 1924-1935 by Daniel Michaels Bell Copyright © Daniel Michaels Bell 2004 A Document Submitted to the Faculty of the SCHOOL OF MUSIC AND DANCE in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS WITH A MAJOR IN MUSIC THE UNIVERSITY OF ARIZONA 2004 UMI Number: 3131585 Copyright 2004 by Bell, Daniel Michaels All rights reserved. INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. UMI UMI Microform 3131585 Copyright 2004 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. -
Full Dissertation All the Bits 150515 No Interviews No
The Practice and Politics of Children’s Music Education in the German Democratic Republic, 1949-1976 By Anicia Chung Timberlake 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 Nicholas Mathew Professor Martin Jay Spring 2015 Abstract The Practice and Politics of Children’s Music Education in the German Democratic Republic, 1949-1976 by Anicia Chung Timberlake Doctor of Philosophy in Music University of California, Berkeley Professor Richard Taruskin, Chair This dissertation examines the politics of children’s music education in the first decades of the German Democratic Republic. The East German state famously attempted to co-opt music education for propagandistic purposes by mandating songs with patriotic texts. However, as I show, most pedagogues believed that these songs were worthless as political education: children, they argued, learned not through the logic of texts, but through the immediacy of their bodies and their emotions. These educators believed music to be an especially effective site for children’s political education, as music played to children’s strongest suit: their unconscious minds and their emotions. Many pedagogues, composers, and musicologists thus adapted Weimar-era methods that used mostly non-texted music to instill what they held to be socialist values of collectivism, diligence, open-mindedness, and critical thought. I trace the fates of four of these pedagogical practices—solfège, the Orff Schulwerk, lessons in listening, and newly-composed “Brechtian” children’s operas—demonstrating how educators sought to graft the new demands of the socialist society onto inherited German musical and pedagogical traditions. -
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Series Editors Claire Gorrara (Cardiff University) Shelley Godsland (University of Birmingham) Giuliana Pieri (Royal Holloway, London) Editorial Board Margaret Atack (University of Leeds) George Demko (Dartmouth College) John Foot (University College London) Stephen Knight (University of Melbourne) Nickianne Moody (Liverpool John Moores University) Elfriede Müller (Berlin) Anne White (University of Bradford) Also in Series Claire Gorrara (ed.) French Crime Fiction Andrew Nestingen and Paula Arvas (eds) Scandinavian Crime Fiction Nancy Vosburg (ed.) Iberian Crime Fiction Guiliana Pieri (ed.) Italian Crime Fiction Lucy Andrew and Catherine Phelps (eds) Crime Fiction in the City: Capital Crimes 00 prelims CrimeFiction in German 2016_2_4.indd 2 2/4/2016 4:47:52 PM EUROPEAN CRIME FICTIONS CRIME FICTION IN GERMAN DER KRIMI Edited by Katharina Hall CARDIFF 2016 00 prelims CrimeFiction in German 2016_2_4.indd 3 2/4/2016 4:47:52 PM © The Contributors, 2016 All rights reserved. No part of this book may be reproduced in any material form (including photocopying or storing it in any medium by electronic means and whether or not transiently or incidentally to some other use of this publication) without the written permission of the copyright owner except in accordance with the provisions of the Copyright, Designs and Patents Act. Applications for the copyright owner’s written permission to reproduce any part of this publication should be addressed to the University of Wales Press, 10 Columbus Walk, Brigantine Place, Cardiff, CF10 4UP. www.uwp.co.uk British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN 978-1-78316-816-3 (hb) 978-1-78316-817-0 (pb) e-ISBN 978-1-78316-818-7 The right of the Contributors to be identified as authors of their contributions has been asserted by them in accordance with sections 77 and 79 of the Copyright, Designs and Patents Act 1988. -
Univerzita J
Univerzita J. Selyeho – Pedagogická fakulta – Katedra modernej filológie Selye János Egyetem – Tanárképző Kar – Modern Filológiai Tanszék Predmet-Tantárgy: Literaturgeschichte 1880-1945 Vyučujúci – Oktató: doc. Károly Vajda, PhD. Tematický plán – Tematikus terv Školský rok – Iskolai év: 2014/2015 Kód – Kód: LT4 Ročník – Évfolyam: III Spôsob hodnotenia – Az értékelés módja: mündliche Prüfung Prednáška - Előadás / Seminár – Szeminárium Ziel des Kurses Das Anliegen der Vorlesungen und der anschließenden Seminare besteht in der Einführung der Studierenden in die wichtigsten literatur- und teilweise kulturgeschichtlichen Erscheinungen der Epoche 1880-1945. Großes Gewicht wird dabei auf innovative Initiativen gelegt. Aus dem Wirrwarr von Strömungen und Ismen werden eminente Erzählungen, Romane und Gedichte ausgewählt, besprochen und in ihren verschiedenen Zusammenhängen analysiert. 13 hétre lebontva /Semesterstruktur der Veranstaltungen: Wöchentlich findet je eine Doppelstunde statt, die in der Form entweder einer Seminarsitzung oder einer Vorlesung abgehalten wird (siehe einschlägige Anmerkung). 1 Epochale Fragen - Epochenmachende Zweifel (Vorl.) 2 Naturalismus - Hintergründe - Textproben (Sem.) 3 Naturalistisches Erzählen - Gerhart Hauptmann: Bahnwärter Thiel (Vorl.) 4 Jahrhundertwende - Donaumonarchie (Robert Musil: Die Verwirrungen des Zöglings Törleß, Sem.) 5 Erneuerung deutscher Erzählliteratur aus Prag (Rilke: Die Aufzeichnungen des Malte Laurids Brigge, Vorl.) 6 Neue Wege der Lyrik - Rilkes Dinggedichte (Sem.) 7 Expressionalismus und Kafka (Vorl.) 8 Literatur als Kult, Sprachkrise (Stefan George, Hugo von Hofmannsthal: Ein Brief, Sem.) 9 Romanliteratur um die Jahrhundertwende (Ricarda Huch, Thomas Mann, Vorl.) 10 Neuromantik, Hermann Hesse: Der Steppenwolf (Sem.) 11 Die Erneuerung des Theaters (Bertold Brecht, Vorl.) 12 Höllenfahrt Europa - Literatur im Schatten der Hitlerei (Sem.) 13 Epochenroman und Epochenlüge - Thomas Mann: Doktor Faustus (Vorl.) Fachliteratur Geschichte der Deutschen Literatur / Helmuth Nürnberger. - 1. -
Erster Deut-Scher
Aufbau-Verlag Für das SWR2 Archivradio mit freundli- cher Genehmigung der Autorin. Erster Deuscher Schriftstel- lerkongreß 4.–8. Oktober 1947 Herausgegeben von Ursula Reinhold, Dieter Schlenstedt und Horst Tanneberger Der einführende Text. Dem SWR 2 Archiv- radio (www.archivradio.de) freundlicher- weise zur Verfügung gestellt von der Auto- rin, in Absprache mit dem Verlag. Das Buch ist vergriffen. 1 Sonntag, 5. Oktober 1947, vormit- tags Tod und Hoffnung. Öffentliche Gedenkfeier Friedenslied 101 Jakob Wassermann [aus: Rede über die Hu- manität] 101 Ricarda Huch, Ruf an die Schriftsteller 101 Redaktionelle Mitarbeit: Hannelore Adolph Die Gedanken sind frei 103 und Elisabeth Lemke Albrecht Haushofer, In Fesseln 104 Mit 45 Abbildungen Günther Weisenborn, Von Tod und Hoffnung der Dichter 104 Erich Mühsam, Ehrung der Toten 110 Inhalt Gerhart Hauptmann [aus: Der große Traum] 110 Ursula Reinhold/Dieter Schlenstedt: Alfred Wolfenstein, Vor der Erhebung 111 Ernst Toller, Gedichte der Gefangenen 112 Vorgeschichte, Umfeld, Franz Werfel, Der Gerichtstag (Auszug) 112 Oskar Loerke, Das schlimme Märchenschloß Nachgeschichte 113 des Ersten Deutschen Carl von Ossietzky, Kleines Testament 114 Schriftstellerkongresses 13 Stefan Zweig, O Kindheit, wie ich hinter deinen Gittern 115 Else Lasker-Schüler, An meine Freunde 116 Georg Kaiser, Von morgens bis mitternachts (Auszug) 117 Protokoll Walter Hasenclever, Soldaten Europas 118 Adam Kuckhoff, Letzter Brief an seinen Sohn 119 Sonnabend, 4. Oktober 1947, Adam Kuckhoff, Für Ule! 120 18.30–20.15 Uhr Dona nobis pacem 120 Leitung: Roland Schacht Sonntag, 5. Oktober 1947, 15.00– Begrüßung 19.45 Uhr Roland Schacht 79 Eugène Théodore Hepp 82 Leitung: Günther Weisenborn Fred B. Bleistein 82 Charles B. Lynch 85 Eröffnung und Grußansprachen Alexander Dymschiz 87 Ricarda Huch 123 Ferdinand Friedensburg 89 Wilhelm Unger 126 Walter May 90 Hermon Ould 129 Fritz Moser 92 Boris Gorbatow 132 Karl Friedrich Borée 96 2 Jovan Popovi 133 Axel Eggebrecht 188 Hans Mayer 189 Günther Sauer 189 Literatur und Gewalt.