The Major Literary Polemicso Karl Kraus
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Nazi Germany and the Jews Ch 3.Pdf
AND THE o/ w VOLUME I The Years of Persecution, i933~i939 SAUL FRIEDLANDER HarperCollinsPííMí^ers 72 • THE YEARS OF PERSECUTION, 1933-1939 dependent upon a specific initial conception and a visible direction. Such a CHAPTER 3 conception can be right or wrong; it is the starting point for the attitude to be taken toward all manifestations and occurrences of life and thereby a compelling and obligatory rule for all action."'^'In other words a worldview as defined by Hitler was a quasi-religious framework encompassing imme Redemptive Anti-Semitism diate political goals. Nazism was no mere ideological discourse; it was a political religion commanding the total commitment owed to a religious faith."® The "visible direction" of a worldview implied the existence of "final goals" that, their general and hazy formulation notwithstanding, were sup posed to guide the elaboration and implementation of short-term plans. Before the fall of 1935 Hitler did not hint either in public or in private I what the final goal of his anti-Jewish policy might be. But much earlier, as On the afternoon of November 9,1918, Albert Ballin, the Jewish owner of a fledgling political agitator, he had defined the goal of a systematic anti- the Hamburg-Amerika shipping line, took his life. Germany had lost the Jewish policy in his notorious first pohtical text, the letter on the "Jewish war, and the Kaiser, who had befriended him and valued his advice, had question" addressed on September 16,1919, to one Adolf Gemlich. In the been compelled to abdicate and flee to Holland, while in Berlin a republic short term the Jews had to be deprived of their civil rights: "The final aim was proclaimed. -
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. -
Diplomarbeit
DIPLOMARBEIT Titel der Diplomarbeit „Die Figuren des Helmut Qualtinger in der Tradition des Wiener Volksstücks“ Verfasser Elias Natmessnig angestrebter akademischer Grad Magister der Philosophie (Mag. phil) Wien, 2009 Studienkennzahl lt. A 317 Studienblatt: Studienrichtung lt. Theater- Film- und Medienwissenschaften Studienblatt: Betreuerin / Betreuer: Univ. Prof. Dr. Christian Schulte 1 2 Inhalt Inhalt........................................................................................................................................... 3 1) Einleitung............................................................................................................................... 7 2) Inspirationen der Jugend...................................................................................................... 10 3) Das Volksstück .................................................................................................................... 15 3.1) Das Wiener Volksstück................................................................................................. 18 3.1.1) Johann Nepomuk Nestroy...................................................................................... 19 3.1.2) Zwischen Nestroy und Kraus................................................................................. 22 3.1.3) Karl Kraus.............................................................................................................. 24 3.2) Die Erneuerer ............................................................................................................... -
German Operetta on Broadway and in the West End, 1900–1940
Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds. -
Crossing Central Europe
CROSSING CENTRAL EUROPE Continuities and Transformations, 1900 and 2000 Crossing Central Europe Continuities and Transformations, 1900 and 2000 Edited by HELGA MITTERBAUER and CARRIE SMITH-PREI UNIVERSITY OF TORONTO PRESS Toronto Buffalo London © University of Toronto Press 2017 Toronto Buffalo London www.utorontopress.com Printed in the U.S.A. ISBN 978-1-4426-4914-9 Printed on acid-free, 100% post-consumer recycled paper with vegetable-based inks. Library and Archives Canada Cataloguing in Publication Crossing Central Europe : continuities and transformations, 1900 and 2000 / edited by Helga Mitterbauer and Carrie Smith-Prei. Includes bibliographical references and index. ISBN 978-1-4426-4914-9 (hardcover) 1. Europe, Central – Civilization − 20th century. I. Mitterbauer, Helga, editor II. Smith-Prei, Carrie, 1975−, editor DAW1024.C76 2017 943.0009’049 C2017-902387-X CC-BY-NC-ND This work is published subject to a Creative Commons Attribution Non-commercial No Derivative License. For permission to publish commercial versions please contact University of Tor onto Press. The editors acknowledge the financial assistance of the Faculty of Arts, University of Alberta; the Wirth Institute for Austrian and Central European Studies, University of Alberta; and Philixte, Centre de recherche de la Faculté de Lettres, Traduction et Communication, Université Libre de Bruxelles. University of Toronto Press acknowledges the financial assistance to its publishing program of the Canada Council for the Arts and the Ontario Arts Council, an agency of the -
Kafka's Anti-Wagnerian Philosophy Of
53 (2/2019), pp. 109–123 The Polish Journal DOI: 10.19205/53.19.6 of Aesthetics Ido Lewit* “He Couldn’t Tell the Difference between The Merry Widow and Tristan and Isolde”: Kafka’s Anti-Wagnerian Philosophy of Music Abstract This essay exposes an anti-Wagnerian philosophy of music in Franz Kafka’s “Researches of a Dog” and “The Silence of the Sirens.” Themes of music, sound, and silence are over- whelmingly powerful in these stories and cannot be divorced from corporeal and visual aspects. These aspects are articulated in the selected texts in a manner that stands in stark opposition to Richard Wagner’s philosophy of music as presented in the composer’s sem- inal 1870 “Beethoven” essay. Keywords Richard Wagner, Franz Kafka, Philosophy of Music, Transcendence, Acousmatic Sound, Silence Max Brod, Franz Kafka’s close friend and literary executor, recalls in his bi- ography of the author that Kafka once said that “he couldn’t tell the differ- ence between The Merry Widow and Tristan and Isolde” (1995, 115). Brod evokes this memory in order to exemplify Kafka’s supposed lack of musi- cality. Indeed, for a German-speaking intellectual such as Kafka, not being able to differentiate Franz Lehár’s light operetta from Richard Wagner’s solemn, monumental music-drama would not simply be an example of unmusicality, but a symptom of cultural autism. While Brod’s recollection is sssssssssssss * Yale University Department of Germanic Languages and Literatures and the Program in Film and Media Studies Email: [email protected] 110 I d o L e w i t __________________________________________________________________________________________________ the only documented reference by Kafka to Wagner or his works,1 it does not necessarily follow that Kafka was unaware of Wagner’s views of music and its effects. -
The Censorship of Literary Naturalism, 1885-1895: Prussia and Saxony
Grand Valley State University ScholarWorks@GVSU Peer Reviewed Articles History Department 2014 The Censorship of Literary Naturalism, 1885-1895: Prussia and Saxony Gary D. Stark University of Texas at Arlington Follow this and additional works at: https://scholarworks.gvsu.edu/hst_articles Part of the History Commons ScholarWorks Citation Stark, Gary D., "The Censorship of Literary Naturalism, 1885-1895: Prussia and Saxony" (2014). Peer Reviewed Articles. 19. https://scholarworks.gvsu.edu/hst_articles/19 This Article is brought to you for free and open access by the History Department at ScholarWorks@GVSU. It has been accepted for inclusion in Peer Reviewed Articles by an authorized administrator of ScholarWorks@GVSU. For more information, please contact [email protected]. SYMPOSIUM: THE CENSORSHIP OF LITERARY NATURALISM The of Censorship Literary Naturalism, 1885-1895: Prussia and Saxony GARY D. STARK has been written in recent years about the emergence of modernist culture in^w de siecle Europe and the resistance MUCH it met from cultural traditionalists. The earliest clashes be? tween traditionalism and modernism usually occurred in the legal arena, where police censors sought to uphold traditional norms against the modernist onslaught. How successful was the state in combatting emer? gent modernist cultural movements? Arno Mayer, in a recent analysis ofthe persistence ofthe old regime in Europe before 1914, maintains that: "In the long run, the victory of the modernists may have been inevitable. In the short run, however, the modernists were effectively bridled and isolated, if need be with legal and administrative controls."1 In Germany, the first stirrings of modern literature?if perhaps not yet of full modernism?began with the naturalists, also called the "real- ists," the "youngest Germans," or simply "the Moderns."2 Naturalists Research for this essay was made possible by generous grants from the National En? dowment for the Humanities, the German Academic Exchange Service, and the Uni? versity of Texas at Arlington Organized Research Fund. -
Czech Language and Literature Peter Zusi
chapter 17 Czech Language and Literature Peter Zusi Recent years have seen a certain tendency to refer to Kafka as a ‘Czech’ author – a curious designation for a writer whose literary works, without exception, are composed in German. As the preceding chapter describes, Kafka indeed lived most of his life in a city where Czech language and society gradually came to predominate over the German-speaking minor- ity, and Kafka – a native German-speaker – adapted deftly to this changing social landscape. Referring to Kafka as Czech, however, is inaccurate, explicable perhaps only as an attempt to counterbalance a contrasting simplification of his complicated biography: the marked tendency within Kafka scholarship to investigate his work exclusively in the context of German, Austrian or Prague-German literary history. The Czech socio-cultural impulses that surrounded Kafka in his native Prague have primarily figured in Kafka scholarship through sociological sketches portraying ethnic animosity, lack of communication and, at times, open violence between the two largest lin- guistic communities in the city. These historical realities have given rise to the persistent image of a ‘dividing wall’ between the Czech- and German- speaking inhabitants of Prague, with the two populations reading different newspapers, attending separate cultural institutions and congregating in segregated social venues. This image of mutual indifference or antagonism has often made the question of Kafka’s relation to Czech language and cul- ture appear peripheral. Yet confronting the perplexing blend of proximity and distance, famil- iarity and resentment which characterized inter-linguistic and inter- cultural contact in Kafka’s Prague is a necessary challenge. -
Das Reich Der Seele Walther Rathenau’S Cultural Pessimism and Prussian Nationalism ~ Dieuwe Jan Beersma
Das Reich der Seele Walther Rathenau’s Cultural Pessimism and Prussian Nationalism ~ Dieuwe Jan Beersma 16 juli 2020 Master Geschiedenis – Duitslandstudies, 11053259 First supervisor: dhr. dr. A.K. (Ansgar) Mohnkern Second supervisor: dhr. dr. H.J. (Hanco) Jürgens Abstract Every year the Rathenau Stiftung awards the Walther Rathenau-Preis to international politicians to spread Rathenau’s ideas of ‘democratic values, international understanding and tolerance’. This incorrect perception of Rathenau as a democrat and a liberal is likely to have originated from the historiography. Many historians have described Rathenau as ‘contradictory’, claiming that there was a clear and problematic distinction between Rathenau’s intellectual theories and ideas and his political and business career. Upon closer inspection, however, this interpretation of Rathenau’s persona seems to be fundamentally incorrect. This thesis reassesses Walther Rathenau’s legacy profoundly by defending the central argument: Walther Rathenau’s life and motivations can first and foremost be explained by his cultural pessimism and Prussian nationalism. The first part of the thesis discusses Rathenau’s intellectual ideas through an in-depth analysis of his intellectual work and the historiography on his work. Motivated by racial theory, Rathenau dreamed of a technocratic utopian German empire led by a carefully selected Prussian elite. He did not believe in the ‘power of a common Europe’, but in the power of a common German Europe. The second part of the thesis explicates how Rathenau’s career is not contradictory to, but actually very consistent with, his cultural pessimism and Prussian nationalism. Firstly, Rathenau saw the First World War as a chance to transform the economy and to make his Volksstaat a reality. -
Die VEREINIGTEN BÜHNEN WIEN Präsentieren
Die VEREINIGTEN BÜHNEN WIEN präsentieren ÖSTERREICHISCHE ERSTAUFFÜHRUNG 27. Jänner 2017 Ronacher DON CAMILLO & PEPPONE ALS MUSICAL IM WIENER RONACHER! Die Vereinigten Bühnen Wien bringen Anfang 2017 die österreichische Erstaufführung auf die Bühne. Wien, 17. November 2016: Die Vereinigten Bühnen Wien präsentieren das Musical DON CAMILLO & PEPPONE, bekannt durch die legendären Verfilmungen, basierend auf den Romanen „Il Mondo Piccolo“ von Giovanni Guareschi, nun endlich als Musical in Wien. Die VBW entwickelten die Weltpremiere der Bühnenfassung dieses Klassikers in Koproduktion mit dem Theater St. Gallen und zeigen das Stück ab 27. Jänner 2017 im Ronacher erstmals auch in Österreich (UA am 30. April 2016 in der Schweiz). VBW-Musical Intendant Christian Struppeck stellte heute im Rahmen einer Pressekonferenz Team, Produktion und Hauptdarsteller vor. Poetisch, rührend, klug – ein Wiedersehen mit liebgewonnenen Charakteren DON CAMILLO & PEPPONE erzählt liebevoll die Geschichten um den streitbaren katholischen Pfarrer Don Camillo und seinen nicht minder schlagkräftigen Kontrahenten Peppone als heiteres, unbeschwertes Musical. Es verspricht ein Wiedersehen mit charmanten, liebgewonnenen Charakteren. Eine fröhliche Geschichte über das ländliche Italien der 50er Jahre, gesellschaftliche Aufbruchsstimmung, menschliches Miteinander, Toleranz und die Kraft der Versöhnung. Ein Klassiker umgesetzt durch internationale Kreative Michael Kunze, erfolgreichster deutschsprachiger Musicalautor, Buchautor, Liedtexter und Übersetzer, dessen Werke mit 79 Goldenen und Platin-Schallplatten ausgezeichnet wurden, schrieb das Buch und die Liedtexte zum Musical. Zusammen mit einem der prominentesten italienischen Komponisten Dario Farina – vielen bekannt durch seine Kult-Pop-Songs wie „Felicità“ oder durch seine viel beachteten Filmmusiken („Rossini“) – ist ein unterhaltsames, kurzweiliges Stück Musiktheater entstanden, in das der Komponist südländische Leichtigkeit und Romantik einfließen ließ. Musical Supervision und Orchestration steuert VBW-Musikdirektor Koen Schoots bei. -
Inhaltsverzeichnis
Inhaltsverzeichnis Hinweis 9 Das Theater der Republik 11 Weimar und der Expressionismus 11 Die Väter und die Söhne 12 Die Zerstörung des Dramas 14 Die neuen Schauspieler 16 Die Provinz regt sich 18 Los von Berlin - Los von Reinhardt 20 Berlin und Wien 22 Zersetzter Expressionismus 24 Die große Veränderung 25 Brecht und Piscator 27 Wirklichkeit! Wirklichkeit! 30 Hitler an der Rampe 33 Der große Rest *35 Wieviel wert ist die Kritik? 37 Alte und neue Grundsätze 38 Selbstverständnis und Auseinandersetzungen 41 Die Macht und die Güte 44 *9*7 47 Rene Schickele, Hans im Schnakenloch 48 rb., Frankfurter Zeitung 48 Alfred Kerr, Der Tag, Berlin 50 Siegfried Jacobsohn, Die Schaubühne, Berlin 52 Georg Kaiser, Die Bürger von Calais 53 Kasimir Edschmid, Neue Zürcher Zeitung 54 Heinrich Simon, Frankfurter Zeitung 55 Alfred Polgar, Vossische Zeitung, Berlin 56 Georg Kaiser, Von Morgens bis Mitternachts 57 Richard Elchinger, Münchner Neueste Nachrichten 58 Richard Braungart, Münchener Zeitung 60 P. S., Frankfurter Zeitung 61 Richard Specht, Berliner Börsen-Courier 62 Oskar Kokoschka, Mörder, Hoffnung der Frauen - Hiob - Der bren nende Dornbusch 63 Robert Breuer, Die Schaubühne, Berlin 64 Bernhard Diebold, Frankfurter Zeitung 66 Alfred Kerr, Der Tag, Berlin 69 Gerhart Hauptmann, Winterballade .. 72 Siegfried Jacobsohn, Die Schaubühne, Berlin 73 Julius Hart, Der Tag, Berlin 75 Emil Faktor, Berliner Börsen-Courier 77 1248 http://d-nb.info/207309981 Georg Kaiser, Die Koralle 79 Bernhard Diebold, Frankfurter Zeitung 79 Kasimir Edschmid, Vossische Zeitung, Berlin, und Neue Zürcher Zei tung 82 Emil Faktor, Berliner Börsen-Courier 83 Alfred Kerr, Der Tag, Berlin 84 Hanns Johst, Der Einsame, ein Menschenuntergang 86 Artur Kutscher, Berliner Tageblatt . -
The Tiger Who Came to Tea / Mog the Forgetful Cat Free
FREE THE TIGER WHO CAME TO TEA / MOG THE FORGETFUL CAT PDF Judith Kerr | 70 pages | 05 Nov 2015 | HarperCollins Publishers | 9780008144012 | English | London, United Kingdom The Tiger Who Came to Tea and The Adventure's of Mog the Forgetful Cat Born in the Weimar Republic and a Jewshe came to Britain with her family in during the rise of the Nazis. Kerr was born in Berlin, [8] the daughter of Alfred Kerr —a theatre criticand Julia Kerr born Julia Anna Franziska Weismann; —[9] [10] [11] a composer who was the daughter of a Prussian politician. The Tiger Who Came to Tea / Mog the Forgetful Cat Kerr had a brother, Michael. Early in March[8] the family heard a rumour that, should the Nazis come to power in the forthcoming electionthey planned to confiscate their passports and arrest Alfred Kerr for having openly criticised the party. The family later travelled to France, before finally settling in Britain inwhere Judith Kerr lived for the remainder of her life. During the Second World War, Judith Kerr worked for the Red Crosshelping wounded soldiers, before being awarded a scholarship to study at the Central School of Arts and Crafts and becoming an artist. He wrote the cult TV science-fiction serial The Quatermass Experiment for which Kerr helped make and operate the special effects. Kneale later prompted her to apply for a job as a BBC television scriptwriter. Kerr and Kneale were married in ; they remained married until his death in They had two children, a daughter Tacy born and a son Matthew born Kerr lived in the same house in BarnesLondon, from until her death on the 22nd May Kerr is best known for her children's books.