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Hans and Lily Hildebrandt Papers, 1899-1979
http://oac.cdlib.org/findaid/ark:/13030/tf5779n7f0 No online items INVENTORY OF THE HANS AND LILY HILDEBRANDT PAPERS, 1899-1979 Finding aid prepared by Scott Wolf and Jocelyn Gibbs. The Getty Research Institute Research Library Special Collections and Visual Resources 1200 Getty Center Drive, Suite 1100 Los Angeles, California 90049-1688 Phone: (310) 440-7390 Fax: (310) 440-7780 Email Requests: http://www.getty.edu/research/conducting_research/library/reference_form.html URL: http://www.getty.edu/research/conducting_research/library ©1998 J. Paul Getty Trust. INVENTORY OF THE HANS AND 850676 1 LILY HILDEBRANDT PAPERS, 1899-1979 INVENTORY OF THE HANS AND LILY HILDEBRANDT PAPERS, 1899-1979 Accession no. 850676 Finding aid prepared by Scott Wolf and Jocelyn Gibbs Getty Research Institute Contact Information: The Getty Research Institute Research Library Special Collections and Visual Resources 1200 Getty Center Drive, Suite 1100 Los Angeles, California 90049-1688 Phone: (310) 440-7390 Fax: (310) 440-7780 Email Requests: http://www.getty.edu/research/conducting_research/library/reference_form.html URL: http://www.getty.edu/research/conducting_research/library/ Processed by: Scott Wolf Date Completed: May 1997, revised Apr 2004 Encoded by: Jenny Cashman and Philip Curtis, revised by Julio Vera ©1998 J. Paul Getty Trust. Descriptive Summary Title: Hans and Lily Hildebrandt papers Date (inclusive): 1899-1979 Collection number: 850676 Creator: Hildebrandt, Hans Hildebrandt, Lily, 1889-1974 Extent: ca. 28 linear ft. (64 boxes) Repository: Getty Research Institute Research Library Special Collections and Visual Resources 1200 Getty Center Drive, Suite 1100 Los Angeles, CA 90049-1688 Abstract: An essentially complete record of the life and work of art historian and critic, Hans Hildebrandt, and of his artist wife, Lily, reflecting their interests in modern art, architecture, and decorative arts, and their close friendships with a number of leading artists and architects. -
Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) Kester, Bernadette
www.ssoar.info Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) Kester, Bernadette Veröffentlichungsversion / Published Version Monographie / monograph Zur Verfügung gestellt in Kooperation mit / provided in cooperation with: OAPEN (Open Access Publishing in European Networks) Empfohlene Zitierung / Suggested Citation: Kester, B. (2002). Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933). (Film Culture in Transition). Amsterdam: Amsterdam Univ. Press. https://nbn-resolving.org/ urn:nbn:de:0168-ssoar-317059 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY-NC-ND Lizenz This document is made available under a CC BY-NC-ND Licence (Namensnennung-Nicht-kommerziell-Keine Bearbeitung) zur (Attribution-Non Comercial-NoDerivatives). For more Information Verfügung gestellt. Nähere Auskünfte zu den CC-Lizenzen finden see: Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0 https://creativecommons.org/licenses/by-nc-nd/4.0/deed.de * pb ‘Film Front Weimar’ 30-10-2002 14:10 Pagina 1 The Weimar Republic is widely regarded as a pre- cursor to the Nazi era and as a period in which jazz, achitecture and expressionist films all contributed to FILM FRONT WEIMAR BERNADETTE KESTER a cultural flourishing. The so-called Golden Twenties FFILMILM FILM however was also a decade in which Germany had to deal with the aftermath of the First World War. Film CULTURE CULTURE Front Weimar shows how Germany tried to reconcile IN TRANSITION IN TRANSITION the horrendous experiences of the war through the war films made between 1919 and 1933. -
Prose by Julia Franck and Judith Hermann
Studies in 20th & 21st Century Literature Volume 28 Issue 1 Writing and Reading Berlin Article 10 1-1-2004 Gen(d)eration Next: Prose by Julia Franck and Judith Hermann Anke Biendarra University of Cincinnati Follow this and additional works at: https://newprairiepress.org/sttcl Part of the German Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Biendarra, Anke (2004) "Gen(d)eration Next: Prose by Julia Franck and Judith Hermann," Studies in 20th & 21st Century Literature: Vol. 28: Iss. 1, Article 10. https://doi.org/10.4148/2334-4415.1574 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th & 21st Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Gen(d)eration Next: Prose by Julia Franck and Judith Hermann Abstract In March 1999, critic Volker Hage adopted a term in Der Spiegel that subsequently dominated public discussions about new German literature by female authors-"Fräuleinwunder"… Keywords 1999, Volker Hage, Der Spiegel, new German literature, female authors, Fräuleinwunder, Julia Franck, Judith Hermann, critic, gender, generation This article is available in Studies in 20th & 21st Century Literature: https://newprairiepress.org/sttcl/vol28/iss1/10 Biendarra: Gen(d)eration Next: Prose by Julia Franck and Judith Hermann Gen(d)eration Next: Prose by Julia Franck and Judith Hermann Anke S. Biendarra University of Cincinnati In March 1999, critic Volker Hage adopted a term in Der Spiegel that subsequently dominated public discussions about new Ger- man literature by female authors-"Frauleinwunder."' He uses it collectively for "the young women who make sure that German literature is again a subject of discussion this spring." Hage as- serts that they seem less concerned with "the German question," the consequences of two German dictatorships, and prefer in- stead to thematize "eroticism and love" in their texts. -
Information to Users
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, begiiming at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9211205 Redeeming history in the story: Narrative strategies in the novels of Anna Seghers and Nadine Gordimer Prigan, Carol Ludtke, Ph.D. -
BEFA Forum 2018: Trauer-Radio
Das VDT-Magazin Jahrgang 22 – Ausgabe Februar 2018 Zu Besuch: John Waszek fotografiert Künstlergräber BEFA Forum 2018: Internationale Bestattungs- fachmesse Trauer-Radio: Bestatter als Moderatoren Aktionsangebot Vorführwagen! Mercedes Benz Vito 119 CDI Allrad EURO 6, Obsidian-Schwarz-Metallic MB 197 EZ März 2016, ca. 34.900 km Allrad 190 PS Diesel / 140 kW 440 Nm, Bestattungswagenumbau: AdBlue-System, Euro 6, 7-Gang SDL EXPERT mit 4-Bahnentechnik Automatik, Wählhebel am Lenkrad: und elektrischem Hubsystem: Klimaanlage + Außentemperaturanz., Portalrahmenverbreiterung elektrische Fensterheber und elek- Einladebreite 1.450 mm, 3 Schiebe- trische Außenspiegel (anklappbar), bühnen in einem Auto, Varioboden, Zentralverriegelung, Schiebetür Edelstahlausbau, 2 Sargschlitten und links und rechts, Rundumvergla- 2 Multifunktions-Sargstopper, Laut- sung in blickdichtem Schwarzglas, sprecher im Sargraum, Sargraumdekor Komfortsitze vorn mit elektrischer in LAVA-Rot und Schieferdesign, Lendenwirbelstütze, Sitzheizung für 6-fach LED-Beleuch tung im Sargraum- Fahrer und Beifahrer, Müdigkeitsassistent, Seitenwindassistent, Naviga- himmel mit Wechselschaltung, LED-Stauraumbeleuchtung links und rechts, tionssystem BECKER MapPilot Europa – 45 Länder mit Sprachbedienung, Ambiente Beleuch tung links und rechts im Sargraum, Umfeldbeleuchtung Radio AUDIO 15 mit 2-Wegelautsprechern und Freisprecheinrichtung per im Heckdeckel, Optikpaket PG Spiegelkappen und Türgriffe in Wagen farbe Bluetooth, Mittelkonsole mit Staufach, Lenkradverstellung, Parkpaket mit lackiert, -
YOKO TAWADA Exhibition Catalogue
VON DER MUTTERSPRACHE ZUR SPRACHMUTTER: YOKO TAWADA’S CREATIVE MULTILINGUALISM AN EXHIBITION ON THE OCCASION OF YOKO TAWADA’S VISIT TO OXFORD AS DAAD WRITER IN RESIDENCE UNIVERSITY OF OXFORD, TAYLORIAN (VOLTAIRE ROOM) HILARY TERM 2017 ExhiBition Catalogue written By Sheela Mahadevan Edited By Yoko Tawada, Henrike Lähnemann and Chantal Wright Contributed to by Yoko Tawada, Henrike Lähnemann, Chantal Wright, Emma HuBer and ChriStoph Held Photo of Yoko Tawada Photographer: Takeshi Furuya Source: Yoko Tawada 1 Yoko Tawada’s Biography: CABINET 1 Yoko Tawada was born in 1960 in Tokyo, Japan. She began to write as a child, and at the age of twelve, she even bound her texts together in the form of a first book. She learnt German and English at secondary school, and subsequently studied Russian literature at Waseda University in 1982. After this, she intended to go to Russia or Poland to study, since she was interested in European literature, especially Russian literature. However, her university grant to study in Poland was withdrawn in 1980 because of political unrest, and instead, she had the opportunity to work in Hamburg at a book trade company. She came to Europe by ship, then by trans-Siberian rail through the Soviet Union, Poland and the DDR, arriving in Berlin. In 1982, she studied German literature at Hamburg University, and thereafter completed her doctoral work on literature at Zurich University. Among various authors, she studied the poetry of Paul Celan, which she had already read in Japanese. Indeed, she comments on his poetry in an essay entitled ‘Paul Celan liest Japanisch’ in her collection of essays named Talisman and also in her essay entitled ‘Die Niemandsrose’ in the collection Sprachpolizei und Spielpolyglotte. -
30 April 2015
Weekly Round-Up, 30 April 2015 * Any weekly round-up attachments can be found at the following link https://weblearn.ox.ac.uk/access/content/group/modlang/general/weekly_roundup/index.html Disclaimer: The University of Oxford and the Faculty of Medieval and Modern Languages accept no responsibility for the content of any advertisement published in The Weekly Round-Up. Readers should note that the inclusion of any advertisement in no way implies approval or recommendation of either the terms of any offer contained in it or of the advertiser by the University of Oxford or The Faculty of Medieval and Modern Languages. Contents 1 Lectures and Events Internal 1.1 How to Write the Great War? Francophone and Anglophone Poetics 1.2 OCGH events update: Tuesday 28 April, 2pm-6.30pm, St Antony's 1.3 DANSOX Events 1.4 Post-Kantian European Philosophy Seminar (PKEPS): Trinity Term 2015 1.5 Part of an endless river: Alberto de Lacerda – A Commemorative Exhibition 1.6 Intensive Weekend Courses at the Language Centre 1.7 The Archive and Forms of Knowledge seminar series : Carolyn Steedman 1.8 Bodleian Libraries Workshop for Week 2 1.9 Oxford Travel Cultures Seminar: 'Travel and Consumption' Programme 1.10 Oxford Podemos Talk 1.11 Dante at 750, Looking Back With Auerbach, Oxford, 5 June 2015 1.12 Clara Florio Cooper Memorial Lecture 2015 1.13 Liberal Limits of Liberalism: Saturday 2nd May 2015 1.14 OCGH and the Wellcome Unit for the History of Medicine: 'Disease and Global History' Workshop 1.15 OCGH Events Update 1.16 Events Organised by the Maison Française -
Temporality, Subjectivity and Postcommunism in Contemporary German Literature by Herta Müller, Zsuzsa Bánk and Terézia Mora
PASTS WITH FUTURES: TEMPORALITY, SUBJECTIVITY AND POSTCOMMUNISM IN CONTEMPORARY GERMAN LITERATURE BY HERTA MÜLLER, ZSUZSA BÁNK AND TERÉZIA MORA A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Katrina Louise Nousek May 2015 © 2015 Katrina Louise Nousek PASTS WITH FUTURES: TEMPORALITY, SUBJECTIVITY AND POSTCOMMUNISM IN CONTEMPORARY GERMAN LITERATURE BY HERTA MÜLLER, ZSUZSA BÁNK AND TERÉZIA MORA Katrina Louise Nousek, Ph. D. Cornell University 2015 This dissertation analyzes future-oriented narrative features distinguishing German literature about European communism and its legacies. Set against landscapes marked by Soviet occupation and Ceauşescu’s communist dictatorship in Romania (Müller) and against the 1956 Hungarian revolution, eastern European border openings, and post-Wende Berlin (Mora, Bánk), works by these transnational authors engage social legacies that other discourses relegate to an inert past after the historic rupture of 1989. Dominant scholarship reads this literature either through trauma theory or according to autobiography, privileging national histories and static cultural identities determined by the past. Shifting attention to complex temporal structures used to narrate literary subjectivities, I show how these works construct European futures that are neither subsumed into a homogeneous present, nor trapped in traumatic repetition, nostalgic longing, or psychic disavowal. My analysis extends and contributes to debates in politics and the arts about the status of utopia after communism and the role of society in political entities no longer divided in Cold War terms of East/West, three worlds, or discrete national cultures. By focusing on Müller, Mora and Bánk, I widen the purview of FRG-GDR discussions about communism to include transnational, temporal and narrative perspectives that scholarship on these authors often overlooks. -
FOREIGN RIGHTS NON-FICTION Spring & Summer 2020
FOREIGN RIGHTS NON-FICTION Spring & Summer 2020 Rowohlt Rowohlt Hundert Augen Rowohlt.Berlin Kindler Wunderlich rororo Rowohlt Polaris rotfuchs Our Spring & Summer highlights THE 6 MINUTE SUCCESS HOMECOMING JOURNAL THE INSECT COLLECTOR THE TIME TRAVELLER’S WOMAN ON FIRE HANDBOOK Wolfgang Büscher HOMECOMING © Frank Zauritz In the middle of the woods, in the middle of Germany: Wolfgang Büscher‘s fascinating journey into its very core. Night after night, a boy stands at the window of his parents’ house and watches the sun as it disappears from view behind the rolling hills in the west. He roams through the woods with his friends, building wooden shacks which the foresters destroy. It’s the early sixties. Decades later, Wolfgang Büscher makes his childhood dream come true. He moves to the woods and experiences spring, summer and autumn there. An aristocratic family with a house on the border of Hessen and Westphalia where Büscher grew up gives him access to a hunting lodge in the middle of the woods, in the middle of Germany. This is where he puts up his camp bed. He has no electricity or running water. He prepares himself for quiet times alone, chopping wood and making fires, the odd hunting expedition, hiking, a marksmen’s festival, extreme loneliness and a nightly blackness never seen in the city. The year takes an unexpectedly dramatic turn as storms, heat and plagues of beetles kill half of the woods. And something else happens which turns everything on its head: Büscher’s mother dies that summer, meaning the house he grew up in is left empty, but full of memories. -
Farocki/Godard: Film As Theory 2015
Repositorium für die Medienwissenschaft Volker Pantenburg Farocki/Godard: Film as Theory 2015 https://doi.org/10.25969/mediarep/3558 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Pantenburg, Volker: Farocki/Godard: Film as Theory. Amsterdam: Amsterdam University Press 2015. DOI: https://doi.org/10.25969/mediarep/3558. Erstmalig hier erschienen / Initial publication here: http://library.oapen.org/handle/20.500.12657/32375 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 3.0 Attribution - Non Commercial - No Derivatives 3.0 License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/3.0 https://creativecommons.org/licenses/by-nc-nd/3.0 FILM CULTURE IN TRANSITION FAROCKI/ GODARD FILM AS THEORY volker pantenburg Farocki/Godard Farocki/Godard Film as Theory Volker Pantenburg Amsterdam University Press The translation of this book is made possible by a grant from Volkswagen Foundation. Originally published as: Volker Pantenburg, Film als Theorie. Bildforschung bei Harun Farocki und Jean-Luc Godard, transcript Verlag, 2006 [isbn 3-899420440-9] Translated by Michael Turnbull This publication was supported by the Internationales Kolleg für Kulturtechnikforschung und Medienphilosophie of the Bauhaus-Universität Weimar with funds from the German Federal Ministry of Education and Research. IKKM BOOKS Volume 25 An overview of the whole series can be found at www.ikkm-weimar.de/schriften Cover illustration (front): Jean-Luc Godard, Histoire(s) du cinéma, Chapter 4B (1988-1998) Cover illustration (back): Interface © Harun Farocki 1995 Cover design: Kok Korpershoek, Amsterdam Layout: Crius Group, Hulshout Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press. -
Die Rowohlt-Affäre DIE ZEIT/Feuilleton, Nr.39, 26.September 1969, S.16
DIE ZEIT/Feuilleton, Nr.39, 26.September 1969, S.16-17 Titel: «Frißt die Revolution ihre Verleger? — Unter- und Hintergründe einer Affäre im Hause Rowohlt» © 1969 DIE ZEIT und Dieter E. Zimmer Die Affäre Rowohlt Von Dieter E. Zimmer Die «Affäre Suhrkamp» vor bald einem Jahr war im Vergleich eine klare Sache: Ein selbstbewußtes und selbständiges Lektorat verlangte vom Ver- lagsleiter Mitbestimmung; da ihm diese nur in Grenzen gewährt wurde, zogen einige die Konsequenz und gingen. Der Rest waren ideologisierte Animositäten. Die «Affäre Rowohlt», die sich in den letzten Wochen in einer absurd anmutenden, aber dennoch zwangsläufigen Eskalation hochgespielt hat, ist ungleich verwickelter — stellenweise ist sie ein Thriller mit Hintertrep- penelementen, wie ihn Rowohlt nie verlegt hätte. Bei aller Unvergleichlichkeit haben beide Affären – wie andere, weniger spektakuläre auch – so etwas wie einen gemeinsamen Grund. Er besteht in der Aporie: daß revolutionär-sozialistische Literatur von kapitalisti- schen Firmen verbreitet wird; daß sich revolutionäre Autoren der Publi- zitätsmöglichkeiten von Unternehmen bedienen müssen, die sie bekämp- fen; daß Unternehmer Ideen verbreiten, die auf ihre eigene Abschaffung zielen. Man bewegt sich da in dem vagen Terrain zwischen Koopera- tionswilligkeit und; Feindschaft. Es herrscht eine Gereiztheit, in der jede Kleinigkeit eine Detonation auslösen kann. Darum auch ist die «Affäre Rowohlt» kennens- und verstehenswert: nicht nur, weil sie, wie auch immer, an die Substanz eines unserer wich- tigsten Verlagshäuser geht, sondern weil sie ein weiteres Paradigma dar- stellt für die Beziehungen zwischen «Revolution», und «Establishment»; weil sie die Problematik des «Liberalismus» heute in aller Kraßheit vor Augen stellt. Zu verstehen ist das, was im Reinbeker Rowohlt Verlag geschah, nur aus einer detaillierten Chronologie der Vorfälle. -
„Mich Muss Keiner
Unternehmen Holtzbrinck „Mich muss keiner Verlagsgruppe Holtzbrinck: Dafür, dass der Stuttgarter Medienriese nichts so sehr hasst wie Aufsehen, hat er in jüngster Zeit ziemlich viel Radau veranstaltet. Jetzt geht man wieder in sich. as Nichtganzdichte tritt zu- Eine Ausnahme bildete lange Zeit mal im Medienwesen in viel- nur die Verlagsgruppe Georg von Dfältige Erscheinung, beson- Holtzbrinck: Von den Ekstasen des ders in jüngster, wirtschaftlich rauer Wohls und Wehs drang wenig hinauf Zeit. Zum Großteil liegt dies daran, ins schön spießige, zurzeit herbstlich dass Neugier und Nachrede – jene schwer belaubte Wohnquartier Stutt- Spezialkräfte, die der Journalismus gart-Gänsheide, wo der drittgrößte so braucht wie das Kreischen der Re- Medienkonzern der Republik seine klame – leicht in Wichtigkeitskaspe- Zentrale hat in einem Gebäude, das rei und Weltfremdheit umschlagen. aussieht wie eine Frauenklinik von Viele der verrücktesten deutschen 1974 und wo die Stille so schwer las- Manager, darf man sagen, allerdings tet, dass selbst das Summen des auch einige der fabelhaftesten und Stroms in den Leitungen den Lärm wohl auch miserabelsten, gehen mor- der Welt noch übertönt. gens in Sende- und Verlagshäusern ein Auf dieser Insel liberaler Bieder- und abends wieder aus. Durchschnitt männerei schätzt man mehr noch ist selten. Man glaubt es ja nicht. als alles Marketing die Schriften Max Besonders scharf zutage treten die Webers, der den Geist des Kapita- Extreme, wenn die Geschäfte sehr lismus in „innerweltlicher Askese“ gut (wie bis 2000) oder sehr schlecht wirken sah, weil er nichts halte von (wie seit 2000) laufen: Keine andere Vergnügungs- und Verschwendungs- Branche lebte so lange so bravourös sucht, ja nicht einmal vom Vergnügen Ein Mann in seiner Zentrale: über ihre Verhältnisse, hat so vie- und vom Verschwenden allein.