Annotated Books Received
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Visione Del Mondo
Weltanschauung - Visione del mondo Art Forum Würth Capena 14.09.09 – 07.08.10 Opere e testi di: Kofi Annan, Louise Bourgeois, Abdellatif Laâbi, Imre Bukta, Saul Bellow, John Nixon, Bei Dao, Xu Bing, Branko Ruzic, Richard von Weizsäcker, Anselm Kiefer, Hans-Georg Gadamer, Marcos Benjamin, Twins Seven Seven, Paavo Haavikko, Hic sunt leones, Nelson Mandela, Kyung Hwan Oh, Jean Baudrillard, Huang Yong Ping, Nagib Machfus, Inge Thiess-Böttner, Guido Ceronetti, Richard Long, Yasar Kemal, Igor Kopystiansky, Imre Kertèsz, Svetlana Kopystiansky, Kazuo Katase, Milan Kundera, Frederich William Ayer, Günter Uecker, Durs Grünbein, Mehmed Zaimovic, Enzo Cucchi, Vera Pavlova, Franz-Erhard Walther, Charles D. Simic, Horacio Sapere, Susan Sontag, Hidetoshi Nagasawa, George Steiner, Nicole Guiraud, Bernard Noël, Mattia Moreni, George Tabori, Richard Killeen, Abdourahman A. Waberi, Roser Bru, Doris Runge, Grazina Didelyte, Gérard Titus-Carmel, Edoardo Sanguineti, Mimmo Rotella, Adam Zagajewski, Piero Gilardi, Günter Grass, Anise Koltz, Moritz Ney, Lavinia Greenlaw, Xico Chaves, Liliane Welch, Fátima Martini, Dario Fo, Tom Wesselmann, Ernesto Tatafiore, Emmanuel B. Dongala, Olavi Lanu, Martin Walser, Roman Opalka, Kostas Koutsourelis, Emilio Vedova, Dalai Lama, Gino Gorza, Karlheinz Stockhausen, Robert Indiana, Nadine Gordimer, Efiaimbelo, Les Murray, Arthur Stoll, Mikhail Sergeyevich Gorbachev, Boris Orlov, Carlos Fuentes, Klaus Staeck, Alì Renani, Wolfang Leber, Alì Aramideh Ahar, Sogyal Rinpoche, Ulrike Rosembach, Andrea Zanzotto, Adriena Simotova, Jürgen -
Gross Und Klein (Big and Small) a Journey Across Contemporary Germany by Botho Strauss English Text by Martin Crimp
Education Resources Pre‐Production Sydney Theatre Company and UBS Investment Bank present Gross und Klein (Big and Small) A Journey across contemporary Germany By Botho Strauss English text by Martin Crimp PRE‐PRODUCTION RESOURCES About Sydney Theatre Company 2 About STCEd 2 Creative Team and Cast 2 Themes 2 Synopsis 3‐6 Historical and social background 7‐8 Additional Resources 8‐9 PRE‐PRODUCTION EXERCISES The Heroine’s Journey 10‐12 Voice Of An Angel 13‐14 Roles & Fantasies 15‐16 Education Resource written by Kerreen Ely‐Harper and compiled by Education Coordinator Toni Murphy KEY AIM of exercise or section Extension Exercises Download and watch + Drama Exercises English Exercises Play online GROSS UND KLEIN Sydney Theatre Company Education Resources 2011 © Copyright protects this Education Resource. Except for purposes permitted by the Copyright Act, reproduction by whatever means is prohibited. However, limited photocopying for classroom use only is permitted by educational institutions. PRE‐PRODUCTION RESOURCES ABOUT SYDNEY THEATRE COMPANY www.sydneytheatre.com.au/about ABOUT STCED www.sydneytheatre.com.au/stced/about “ LOTTE CREATIVE TEAM Time passes, but not the way it Director – Luc Bondy should. Set Designer – Johannes Schϋtz Morocco Costume Designer – Alice Babidge Gross und Klein Lighting Designer – Nick Schlieper ” Composer & Sound Designer – tba CAST Lotte – Cate Blanchett Alf & Juergen – Richard Pyros Inge & Turk’s Wife – Anita Hegh Girl with bladder & Josephine – Old Woman & Older Married Woman – Sophie Ross Melissa Jaffer -
Bollettino Novità
Bollettino Novità Biblioteca del Centro Culturale Polifunzionale "Gino Baratta" di Mantova 4' trimestre 2019 Biblioteca del Centro Culturale Polifunzionale "Gino Baratta" Bollettino novità 4' trimestre 2019 1 Le *100 bandiere che raccontano il mondo / DVD 3 Tim Marshall ; traduzione di Roberto Merlini. - Milano : Garzanti, 2019. - 298 p., [8] carte 3 The *100. La seconda stagione completa / di tav. : ill. ; 23 cm [creato da Jason Rothenberg]. - Milano : inv. 178447 Warner Bros. Entertainment Italia, 2016. - 4 DVD-Video (ca. 674 min. compless.) -.929.9209.MAR.TIM color., sonoro ; in contenitore, 19 cm. 1 v ((Caratteristiche tecniche: regione 2; 16:9 FF, adatto a ogni tipo di televisore; audio 2 The *100. La prima stagione completa / Dolby digital 5.1. - Titolo del contenitore. [creato da Jason Rothenberg]. - Milano : - Produzione televisiva USA 2014-2015. - Warner Bros. Entertainment Italia, 2014. Interpreti: Eliza Taylor, Bob Morley, Marie - 3 DVD-Video (circa 522 min) : Avgeropoulos. - Lingue: italiano, inglese; color., sonoro ; in contenitore, 19 cm. sottotitoli: italiano, inglese per non udenti ((Caratteristiche tecniche: regione 2; video + 1: The *100. 2. : episodi 1-4 / [creato 16:9, 1.85:1 adatto a ogni tipo di tv; da Jason Rothenberg]. - Milano : Warner audio Dolby digital 5.1, 2.0. - Titolo Bros. entertainment Italia, 2016. - 1 DVD- del contenitore. - Prima stagione in Video (ca. 172 min.) ; in contenitore, 13 episodi del 2014 della serie TV, 19 cm. ((Contiene: I 48 ; Una scoperta produzione USA. - Interpreti: Eliza Taylor, agghiacciante ; Oltre lapaura ; Verso la città Isaiah Washington, Thomas McDonell. - della luce. Lingue: italiano, inglese, francese, tedesco; inv. 180041 sottotitoli: italiano, inglese, tedesco per non udenti, inglese per non udenti, tedesco, DVFIC.HUNDR.1 francese, olandese, greco DVD 1 + 1: The *100'. -
The Inventory of the Alvin Epstein Collection #1717
The Inventory of the Alvin Epstein Collection #1717 Howard Gotlieb Archival Research Center Epstein, Alvin #1717 2/17/06 Preliminary Listing I. Professional Materials. Box 1 A. Files, re: American Repertory Theater, unless noted; may include reviews; scores; scripts; notes; correspondence; printed materials; legal materials; photographs; artwork; audio material. 1. AAlliance for the Development of Theater Arts, Inc.@ [F. 1] 2. AAmerican Repertory Theater.@ [F.1-3] 3. AAspen Musical Festival.@ [F. 4] 4. ABeckett, Samuel.@ [F. 5] 5. AContracts.@ [F. 5-6] 6. AThe Cabinet of Dr. Caligari.@ [F. 7] 7. ACaligula - Yale Repertory Theater.@ [F. 8] 8. ACarnegie Hall.@ 9. ACharlie in the House of Rue,@ includes photographs; slides. 10. AThe Cherry Orchard.@ 11. AClerambard,@ includes printed material; telegram; photographs. [F. 9] 12. AColette,@ includes printed material. [F. 10] 13. AColette Scores.@ [F. 11] 14. ACrossing Niagra,@ includes printed material; telegram. [F. 12] 15. ACrimes and Crimes.@ 16. ADear Liar.@ [F. 13] Box 2 17. ADoctor=s Dilemma.@ [F. 1] 18. ADoing Life,@ includes contract. 19. ADon Juan.@ 20. ADream of the Red Spider.@ [F. 2] 21. ADynamite Tonite,@ includes sub-files: a. AYale Repertory Theater,@ includes 2 contracts, 11/14/06. b. ANew York,@ includes contract, 2/23/67. 22. AHamlet.@ 23. AOn Ne Badine Pas Avec L=Amour (No Trifling With Love),@ includes original sketches. [F. 2-4] 24. AOpera,@ includes printed material. [F. 5] 25. ARevue Material.@ 26. ASolider=s Tale.@ [F. 6] 27. AStory Theater.@ [F. 7] 28. ASalzburg American Seminar.@ 29. ATartuffe,@ includes printed material. [F. 8] 30. ATempest,@ American Repertory Theater and Yale Repertory Epstein, Alvin (2/17/06) Theater, MS, 200 p.; includes score; photograph. -
UC Davis E-Research
UC Davis E-Research Title Literaturmagazin (Rowohlt): An Index Permalink https://escholarship.org/uc/item/3c32v2rd Author Siegel, Adam P Publication Date 2018-05-16 eScholarship.org Powered by the California Digital Library University of California Literaturmagazin (Rowohlt): An Index Adam Siegel Copyright © 2017 by Adam Siegel Literaturmagazin (Rowohlt) Index / 1 Introduction Am Anfang das Manifesto, a stance that the most conflicted and complex publishing house in West Germany could take without risk of irony: "Für eine neue Literatur - gegen den spätbürgerlichen Literaturbetrieb." Rowohlt Verlag, pioneer of the German paperback, the Manny Farber termite of West German publishing (Suhrkamp, of course, the white elephant). Literaturbetrieb -- typical German summation. Previously, the German Literaturbetrieb had been dominated by Gruppe 47. After the suspension of Gruppe 47, after 1968, the field lay open. Rowohlt's commitment to "die neue Literatur," both in the Literaturmagazin and the companion series Das neue Buch can be read in retrospect as a cultural history of West Germany during the seventies (which we might demarcate as having taken place between the 1972 Munich Olympics and the fall of Helmut Schmidt's government). The Seventies: “Atmosphäre muss gereinigt werden von allen (rechten und linken) Spielarten des Obskurantismus und Opportunismus, von dem Pfaffentum, das heute die marxistische Lehre verwaltet, ebenso wie von der bürgerlichen Feuilletonmafia.”1 Of course Rowohlt continued to publish Literaturmagazin until 2001. As the eighties progressed, the contents remained engagé, but more international. Which is to say, less German. Verlagsprogramme als Geschichte. Let the index serve as narrative. 1 Rundbrief zum Projekt "Literaturmagazin", mit Randbemerkungen von Peter O. -
Alexander Kluge Raw Materials for the Imagination
FILM CULTURE IN TRANSITION Alexander Kluge Raw Materials for the Imagination EDITED BY TARA FORREST Amsterdam University Press Alexander Kluge Alexander Kluge Raw Materials for the Imagination Edited by Tara Forrest Front cover illustration: Alexander Kluge. Photo: Regina Schmeken Back cover illustration: Artists under the Big Top: Perplexed () Cover design: Kok Korpershoek, Amsterdam Lay-out: japes, Amsterdam isbn (paperback) isbn (hardcover) e-isbn nur © T. Forrest / Amsterdam University Press, All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Every effort has been made to obtain permission to use all copyrighted illustra- tions reproduced in this book. Nonetheless, whosoever believes to have rights to this material is advised to contact the publisher. For Alexander Kluge …and in memory of Miriam Hansen Table of Contents Introduction Editor’s Introduction Tara Forrest The Stubborn Persistence of Alexander Kluge Thomas Elsaesser Film, Politics and the Public Sphere On Film and the Public Sphere Alexander Kluge Cooperative Auteur Cinema and Oppositional Public Sphere: Alexander Kluge’s Contribution to G I A Miriam Hansen ‘What is Different is Good’: Women and Femininity in the Films of Alexander Kluge Heide -
Introduction the Surreal Without Surrealism
INTRODUCTION The Surreal without Surrealism The time will come, if it is not already come, when the surrealist enterprise:': will be studied and evaluated, in the history of literature, as an adventure of hope. —Wallace Fowlie, Age of Surrealism Indubitably, Surrealism and the GDR are closely connected, and are more closely related to each other than one might think. When, for example, one listens to the recollections and reads the memoirs of those who lived in this country, apparently no other conclusion can be drawn. Life in the East German Communist state had a surrealistic disposition, was associated with the grotesque, absurd and irrational. Admittedly, Surrealism did not exist in the GDR. Not only are the insights of Hans Magnus Enzensberger and Peter Bürger on the death of the historical avant-garde convincing and applicable to the GDR;1 it is also significant that no German artist or writer who considered him- or herself a Surrealist prior to 1945 returned from exile to settle in the SBZ or the GDR. Most of the celebrities of German Surrealism during the Weimar Republic were forced to go into exile or did not return to Germany at all. Max Ernst, for example, remained living in the USA, and then in 1953 moved to his wife’s old quarters in Paris; Hans Arp decided to live in Switzerland, and in 1949 chose the USA as his home country. Others who had lived through and survived Hitler’s Germany had to face the harsh demands of National Socialist cultural politics that downgraded the avant-garde to the status of Entartete Kunst, or degenerate art, and sidelined and even terrorized its representatives. -
Und Umtriebe Des Übersetzers Richard Pietraß Der Schriftsteller Un
1 Andreas F. Kelletat Pilgerfahrt ins Land der Poesie Die An- und Umtriebe des Übersetzers Richard Pietraß (Laudatio auf Richard Pietraß aus Anlass der Verleihung des Übersetzerpreises Ginkgo-Biloba für Lyrik im Hilde- Domin-Saal der Stadtbücherei Heidelberg, 30. September 2020) Der Schriftsteller und der Übersetzer, der Dichter und der Nachdichter Richard Pietraß hatte seine ersten weiterhin sichtbaren Veröffentlichungen in drei einander folgenden Ausgaben einer von Bernd Jentzsch herausgegebenen Lyrikreihe namens Poesiealbum. 90 Pfennige kosteten die Hefte und sie wurden in einer Auflage von 10.000 Exemplaren nicht nur in Buchhandlungen, sondern sogar an Zeitungskiosken verkauft. Jeden Monat gab es ein neues, eine neue Stimme im Chor der Lyrik. Im Heft Nr. 81 mit Gedichten Marina Zwetajewas erschien im Juni 1974 Pietraß‘ erste Übersetzung aus dem Russischen, im August 1974 in Heft 83 seine Nachdichtung eines Lappland-Poems des norwegischen Dichters Nordahl Grieg und in Heft 82 wurde Richard Pietraß im Juli 1974 mit eigenen Gedichten vorgestellt. Worum es ihm in seiner Poesie geht, steht auf der Innenklappe des Heftes vom Juli 1974: „Das Leben trifft uns, wie uns wahre Kunst betroffen macht. Daraus entstehen Gedichte. Immer gilt es, den Raum des Sagbaren, letztlich Lebbaren, zu erweitern.“ Ein Mittel, den „Raum des Sagbaren […] zu erweitern“, wurde für ihn neben dem eigenen Schreiben von Gedichten auch das Übersetzen und das Nachdichten. Dabei schärfte er mitunter die Aussage der Originale und ließ so die Aktualität eines Gedichts etwa von Boris Sluzki oder Nikolai Sabolozki aufblitzen. In den Poesiealben vom Juni und August 1974, die von Fritz Mierau (Zwetajewa) und Sieglinde Mierau (Grieg) zusammengestellt wurden, ist Pietraß mit jeweils nur einem Gedicht vertreten; die anderen wurden von anderen Dichtern ins Deutsche gebracht, von Heinz Czechowski, Adolf Endler, Elke Erb, Bernd Jentzsch, Rainer Kirsch, Sarah Kirsch und Reiner Kunze. -
Desde Las Orillas Del Sena Tomo XI Serie “Cartas a Ofelia”
Desde las orillas del Sena Tomo XI Serie “Cartas a Ofelia” Félix José Hernández Desde las orillas del Sena A Don Santiago Lázaro Requeiro y Doña Fortuna Dueñas. 2 Desde las orillas del Sena Miguel de Cervantes Saavedra "La Libertad, Sancho, es uno de los más preciosos dones que a los hombres dieron los cielos; con ella no pueden igualarse los tesoros que encierra la tierra ni el mar encubre; por la libertad así como por la honra se puede y debe aventurar la vida, y, por el contrario, el cautiverio es el mayor mal que puede venir a los hombres". Miguel de Cervantes Saavedra. 3 Desde las orillas del Sena Mis Memorias de Exilio París, 1 de mayo de 2016. Queridos amigos: El origen de Cartas a Ofelia está en las narraciones surgidas inicialmente a partir de las cartas que escribía cada semana a mi madre, Ofelia Valdés Ríos, contándole mis experiencias del exilio parisino. En ellas cuento lo que veo y siento: filmes, obras de teatro, museos, exposiciones, los libros que leo, las relaciones con los galos, la sociedad francesa, la política, Cuba vista desde aquí, los viajes por 66 países a lo largo de estos 35 años, mis éxitos y mis fracasos, mis nostalgias y mi amor por la Libertad, las relaciones con personalidades del exilio, mi trabajo en el Instituto y en la Universidad como profesor de Civilización Latinoamericana, las relaciones con colegas, alumnos y 4 Desde las orillas del Sena estudiantes, etc., en resumen, es la experiencia vivida por una familia cubana en todos estos años. -
The East German Writers Union and the Role of Literary Intellectuals In
Writing in Red: The East German Writers Union and the Role of Literary Intellectuals in the German Democratic Republic, 1971-90 Thomas William Goldstein A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History. Chapel Hill 2010 Approved by: Konrad H. Jarausch Christopher Browning Chad Bryant Karen Hagemann Lloyd Kramer ©2010 Thomas William Goldstein ALL RIGHTS RESERVED ii Abstract Thomas William Goldstein Writing in Red The East German Writers Union and the Role of Literary Intellectuals in the German Democratic Republic, 1971-90 (Under the direction of Konrad H. Jarausch) Since its creation in 1950 as a subsidiary of the Cultural League, the East German Writers Union embodied a fundamental tension, one that was never resolved during the course of its forty-year existence. The union served two masters – the state and its members – and as such, often found it difficult fulfilling the expectations of both. In this way, the union was an expression of a basic contradiction in the relationship between writers and the state: the ruling Socialist Unity Party (SED) demanded ideological compliance, yet these writers also claimed to be critical, engaged intellectuals. This dissertation examines how literary intellectuals and SED cultural officials contested and debated the differing and sometimes contradictory functions of the Writers Union and how each utilized it to shape relationships and identities within the literary community and beyond it. The union was a crucial site for constructing a group image for writers, both in terms of external characteristics (values and goals for participation in wider society) and internal characteristics (norms and acceptable behavioral patterns guiding interactions with other union members). -
Forwards and Don't Forget Beatrice E. Stammer Feminism Is Neither a Style Nor a Movement, but Rather a Value System, a Revolu
Forwards and Don’t Forget Beatrice E. Stammer Feminism is neither a style nor a movement, but rather a value system, a revolutionary strategy, a standard of living. (1) In 2009, twenty years after the fall of the wall, female artists from the GDR are still mostly unknown. Up until today, few are to be found in museums or at art fairs. Their work also seldom appears in contemporary exhibitions and are only sparingly represented even in large exhibitions surveying art in the GDR – “Where have the female visual artists” (2) gone to? Why were the majority (of female artists) regarded much less than their male colleagues already in their own land and with few exceptions completely ignored since the fall of the wall? When in the 1980s a young generation of artists in Berlin (East), Leipzig and Erfurt or Dresden, confidently and subversively protested against every single monopolization and standardization, it was these artists in particular, who let this “ego perspective” stubbornly and unbridled take its course and who were motivated to leave behind the web of stipulated (female) standards of living. The non-conformist art scene of the GDR is characterized by a vehement questioning, a collective retreat and departure in which – due to the walls – however limited alternatives resulted, where life and art flowed together. And female artists played a considerable part in this development. Despite this often radical departure of both young female and male artists in the GDR however, gender relations remained traditionally inscribed and untouched. “Women therefore never seriously threatened the rules of the male dominated society that were embedded in the deep structures of the culture.” (3) Even in so-called avant- garde circles neither the women nor the men questioned the division of gender roles. -
Karina Van Dalen-Oskam
Karina van Dalen-Oskam Huygens Institute for the History of the Netherlands (Royal Netherlands Academy of Arts and Sciences), The Hague Personal names in literature: a quantitative approach1 1 Introduction Is it possible to write a novel that does not have a single personal name in it? Or better perhaps: a readable novel? Undoubtedly there are more, but I know of only one that does not contain any names, be it personal, geographical, or other: Blindness, a novel by the Portugese 1998 Nobel Prize winner José Saramago. The novel describes how an unexplained mass epidemic of blindness afflicts nearly everyone in an unnamed city and depicts the horrible social breakdown that follows. The epidemic ends just as sudden and unexplained as it started. The characters in this novel do not get a name, but they are described with a noun phrase referring to what they are: the doctor, the doctor’s wife, the first blind man, the old man with the black eyepatch, the girl with dark glasses, the boy with the squint.2 Formally these noun phrases are not names but they are uniquely referring in the story world of the novel and thus share an important function with names. The avoidance of names has a clear function in the story, as can be illustrated with a quotation from the first part of the novel. Most of the main characters, being the very first group of people that went blind, have been placed in quarantine in an asylum. When a new group of blind men and women arrive in their ward, The doctor's wife remarked, It would be best if they could be counted and each person gave their name.