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GOTTFRIED BENN: the ARTIST Anp Pol,Rrrcs (1910-1934)
.! -t GOTTFRIED BENN: THE ARTIST ANp Pol,rrrcs (1910-1934) Thesis presented by Reinhard Otto Alter for the degree of Doctor of philosophy in the University of Adelaide. R.. O. Alter B.A. Hons. (aaer. Lg69) Ade Ia ide/trtunich April 1974. coTTFRrEp BENN. THE ARTTST ANp pOLrrrCS (1410-1434) Summary page i Statement IV Acknowledgements v Preface VJ- PART r: THE ARTTST (1910-1932) Chapter 1: Disestablishment and the Norm. Bennrs early Prose and Poet.ry 1 Chapter 2: Bennr s Artistic Ttreory (L92O-J-932) 46 PART TI: THE ARTIST AND Polrrrcs (rg2o-L934) Ctrapter polit,ics 3: The Artist and (L92o - March 1933 ) ZA chapter 4: Be.nn and National Socialísm (1933/34) (1) History and Creativeness IIT (2) Arr and rhe state r42 (3) Artistic Autonomy and National Socialism r59 Biblioqraphv 19T J- Summary Pärt I: The Àrtist ( rqro-lq3e ) Bennrs a::tistic theory in the rtwenties and early Ithirties is indissoluble from his cultural criticism; striving for artistic serf-determination or autonomy is invariably accompanied by an assaurt on the empiricar world from which the mind seeks release. This rerationship between culturar criticism and art had been prefigured in Bennrs early prose works; as a resul-t of their incompat- ibility with the intellectual and social norm (representecl by the personality-type of the "Herr" ), the protagonists of Bennrs early work calr up an imaginative "Gegenglückt' in which they reconstitute the empirical world according to the dictates of an autonomous imagination. The attainment of a level of consciousness which grants release from the strictures of the here and now is t'Gegenvorstellung" the object of Bennts antirationar and a precondition for its ultimate aim: artistic creativeness. -
Vehrigs 20Er Jahre Web
Rudolf Jankuhn Werkhefte 3 Die Malerin Ursula Vehrigs (1893 – 1972) Die Zwanziger Jahre bis 1933 Ihr künstlerisches Umfeld, Personen und Orte Titelbild unter Verwendung von einem Foto: Paris - Leger 1926, Galerie d‘Art Contemporain mit Ursula Vehrigs, Franziska Clausen, Annot Jacobi und Florence Henri und einem Bild von Ursula Vehrigs (s. Seite 23) Werkhefte 3 Rudolf Jankuhn Die Malerin Ursula Vehrigs (1893 – 1972) Die Zwanziger Jahre bis 1933 Ihr künstlerisches Umfeld, Personen und Orte Copyright: Edition Kultur/Berlin Rudolf Jankuhn 2014-12-26 Seiten Preis Farbseiten Din A zzl. Versandkosten Bestellung: [email protected] oder 030/924 01 864 Postweg: 13086 Berlin, Max-Steinke-Str.35 www.rudolfjankuhn.de Ursula Vehrigs 1926 in Paris 3 Ursula Vehrigs Zeittafel 1893 (12. Januar) geb. in Mertendorf bei Naumburg. Verbringt dort auf dem Schachtberg ihre ersten Lebensjahre. Ihre Eltern waren Hugo und Margarete Vehrigs, geb. Vogt. 1895 wird ihre Schwester Margot geboren. 1904 Ihre Mutter heiratet den Physiologen Ernst Weber und zieht nach Berlin. 1904 – 1907 Besuch des Steiberschen Institutes, eines Mädchen- pensionates, in Leipzig 1907 Umsiedlung nach Berlin-Grunewald, Besuch des Gymnasiums, Besuch der Malschule des „Vereins der Berliner Künstlerinnen“ 1910 – 13 Reisen in die Alpen, nach Sylt, 1911 nach Süddeutschland, Murnau & Venedig, 1913 nach Ostende, Paris und Nizza 1919 Umzug an den Kurfürstendamm 35, Besuch der Malschule von Hans Hofmann in München 1924 Reise nach Capri, Ernst Weber stirbt 1925 – 26 Besuch der Academie Moderne in Paris, Schülerin von Fernand Leger 1926 Ausstellung in der Galerie D‘Art Contemporain Rückkehr nach Berlin, Ausstellungsbeteiligungen. in der Secession, bei Cassirer und Nierendorf 1928/30/31 Beteiligung an der „Großen Berliner Kunstausstellung“ u.a. -
University of Birmingham Dissent and Cultural Pessimism in Ernst Wiechert's Der Weiße Büffel Oder Von Der Großen Gerechtigk
University of Birmingham Dissent and Cultural Pessimism in Ernst Wiechert’s Der weiße Büffel oder Von der großen Gerechtigkeit Klapper, John License: None: All rights reserved Document Version Peer reviewed version Citation for published version (Harvard): Klapper, J 2017, 'Dissent and Cultural Pessimism in Ernst Wiechert’s Der weiße Büffel oder Von der großen Gerechtigkeit: Literary “Inner Emigration” under National Socialism', The German Quarterly, vol. 90, no. 1, pp. 1. Link to publication on Research at Birmingham portal Publisher Rights Statement: Eligibility for repository: Checked on 6/2/2017 General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document. When citing, please reference the published version. Take down policy While the University of Birmingham exercises care and attention in making items available there are rare occasions when an item has been uploaded in error or has been deemed to be commercially or otherwise sensitive. -
Kategorien Und Konzepte
Kategorien und Konzepte Edited by: Iwona Bartoszewicz, Marek Hałub, Tomasz Małyszek, Germanica Wratislaviensia 139, 2014 Abstracts Literary studies Seiten Barbara Wróblewska (Szczecin): Masochistic Desire and the 11-23 Symbolism of Colours in the Novel Venus im Pelz by Leopold Sacher- Masoch The present contribution deals with the problematic symbolism of colours in the controversial novel Venus im Pelz written by Leopold Sacher-Masoch. In regard to the thesis stated by Hans J. Wulff, that colours do not possess own semantic meaning but are an integral element of one superordinate entirety and therefore have to be analysed in each respective context, the attempt is made to show the coherency between the semantic of the colours and the masochistic ritual as constructed by Sacher-Masoch. The intensifying depiction of colours is emphasizing the nature of masochistic fantasies in the analysed text in splendid respect. But it is accentuated that the author deals rather conventionally with the symbolism of colours in his literary project. An answer might be found in the character of masochism itself as it integrates violence in a system of ritualized acts where innovative procedure is not given preference. Keywords : Symbolism of colours, masochistic fantasies, violence-erotic Grzegorz Kowal (Wrocław): Polish Reception of the Will to Power of 25-37 Friedrich Nietzsche Polish culture made a major contribution to the reception of the will to power of Friedrich Nietzsche. By ‘the will to power’ I mean here bot h the book having the title “The Will to Power” and one of the main ideas of Nietzsche’s philosophy. The book was translated into Polish already in 1911. -
Thomas Mann and Czechoslovakia
71-18,093 SUMICHRAST, Marika Elisabeth, 1931- THOMAS MANN AND CZECHOSLOVAKIA. CPortions of Text in German]. The Ohio State University, Ph.D., 1970 Language and Literature, modern University Microfilms, A XEROX Company , Ann Arbor, Michigan © 1971 Marika Elisabeth Sumichrast ALL RIGHTS RESERVED >vi uic orru T.Mt;n EYArTT.Y AS RECEIVED THOMAS MANN AND CZECHOSLOVAKIA DISSERTATION Presented In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of the Ohio State University By Marika Elisabeth Sumichrast The Ohio State University 1970 Approved by S d b "It Adviser Department of German THE STUDY'S PURPOSE AND ORGANIZATION In the lives of great men there are often periods which are little known to the public. Usually, these gaps exist because the particular periods are considered of little consequence. However, a singular lack of precise information has existed about an important aspect in the life of Thomas Mann: his relationship with Czechoslovakia. The purpose of this research was to shed light on this period by determining what motivated his quest for Czechoslovak citizenship; where and when he visited that country; what his feelings were toward the people of Czechoslovakia; how he was received by the public, press, literary critics; and the nature of his friendship with Karel Sapek, the foremost Czechoslovak literary figure. In the course of assembling the information and material relevant to Thomas Mann's relationships with Czechoslovakia and its literary, governmental, and political figures, it became quickly evident that several courses could be pursued in its organization. Consideration was given to the many organizational paths open to me. -
The Manns - Novel of a Century”)
THE GERMAN SOCIETY OF PENNSYLVANIA Friday Film Fest Series Thomas Mann (1875-1955) Die Manns ( 2001) Die Manns – Ein Jahrhundertroman (2001) Part I, II and III (“The Manns - Novel of a Century”) By Heinrich Breloer January 18th & February 2nd & February 8th Elisabeth Mann ● 6:30 PM ● ( 1918-2002) Film, Food & Discussion Donations $15, Members $12 The German Society of PA 611 Spring Garden St. 215-627-2332 Die Manns – Ein Jahrhundertroman (2001) At the end of his letter, he says that the „soziale Humanismus, um den das große Ringen geht, dem deutschen Wesen doch nicht fremd und zuwider sei. In seiner Weltscheu war Director: Heinrich Breloer immer so viel Weltverlangen; auf dem Grunde der Einsamkeit, die es böse machte, ist, Genre: Docudrama for TV wer wüsste es nicht, der Wunsch, zu lieben, der Wunsch geliebt zu sein. Deutschland treibe Dünkel und Hass aus seinem Blut, es entdecke seine Liebe wieder, und es wird Script: Heinrich Breloer geliebt werden. Es bleibt, trotz allem, ein Land voll gewaltiger Werte, das auf die Horst Königstein Tüchtigkeit seiner Menschen sowohl wie auf die Hilfe der Welt zählen kann und dem, ist Producers: Katharina Gräfin Lambsdorff nur erst das Schwerste vorüber, ein neues, an Leistungen und Ansehen reiches Leben Thilo Kleine vorbehalten ist.“ Music: Hans Peter Ströer In 1949, he visited Germany for the first time since the end of the war, taking part in the Camera: Gernot Roll festivities celebrating the 200 anniversary of Goethe’s birth. He visited both Frankfurt Length: 312 Minutes (3 parts) and Weimar commenting: „ Ich kenne keine Zonen. Mein Besuch gilt Deutschland Production: Bavaria Film GmbH selbst, Deutschland als Ganzem, und keinem Besatzungsgebiet.“ In Frankfurt he gave a (in coproduction WDR, NDR, BR ARTE, ORF) speech in the historic Paulskirche about „Goethe und die Demokratie“ and received the Locations: Spain, Southern France, Zürich, Lübeck, München, Köln Goethe-prize of West-Germany. -
Völkisch Writers and National Socialism
CULTURAL HISTORY AND LITERARY IMAGINATION This book provides a view of literary life under the Nazis, highlighting • Guy Tourlamain the ambiguities, rivalries and conflicts that determined the cultural climate of that period and beyond. Focusing on a group of writers – in particular, Hans Grimm, Erwin Guido Kolbenheyer, Wilhelm Schäfer, Emil Strauß, Börries Freiherr von Münchhausen and Rudolf Binding – it examines the continuities in völkisch-nationalist thought in Germany from c.1890 into the post-war period and the ways in which völkisch-nationalists identified themselves in opposition to four successive German regimes: the Kaiserreich, the Weimar Republic, the Third Reich and the Federal Republic. Although their work Völkisch predated Hitler’s National Socialist movement, their contribution to preparing the cultural climate for the rise of Nazism ensured them continued prominence in the Third Reich. Those who survived into the post-war era continued to represent the völkisch-nationalist worldview in the West German public sphere, opposing both Socialism and National Writers the Soviet and liberal-democratic models for Germany’s future. While not uncontroversial, they were able to achieve significant publishing success, suggesting that a demand existed for their works among the German public, stimulating debate about the nature of the recent past and its effect on Germany’s cultural and political identity and position in the world. Völkisch Writers and National Socialism Guy Tourlamain received his D.Phil. from Oxford University in 2007. He also spent time as a visiting student at the University of Gießen, A Study of Right-Wing Political Culture University of Hamburg and Humboldt University in Berlin as well as undertaking postdoctoral research at the German Literature in Germany, 1890–1960 Archive in Marbach am Neckar. -
Um Thomas Mann 1945-1949
„Du hast einen anderen Geist als wir!“ Die „große Kontroverse“ um Thomas Mann 1945-1949 Inaugural-Dissertation zur Erlangung des Doktorgrades der Philosophie des Fachbereichs Sprache, Literatur, Kultur der Justus-Liebig-Universität Gießen vorgelegt von Marcus Hajdu aus Gießen 2002 Dekan: Prof. Dr. Stenzel I. Berichterstatter: Prof. Dr. Kurz II. Berichterstatter: Prof. Dr. Karthaus Datum der Disputation: 2.7.2003 Inhaltsverzeichnis 1 Einleitung_____________________________________________________________ 5 2 Die ”große Kontroverse” um Thomas Mann nach 1945 ________________________ 9 2.1 Der Anlaß für die Kontroverse_________________________________________ 9 2.2 Die Entfaltung der ”großen Kontroverse” um Thomas Mann _______________ 29 2.2.1 Die Position der Gegner Thomas Manns__________________________________________ 29 2.2.1.1 Gerhard Grindel: Thomas Manns zweite Emigration _____________________________ 30 2.2.1.2 August Enderle: Ein Emigrant über Thomas Mann______________________________ 34 2.2.1.3 Edwin Redslob ________________________________________________________ 36 2.2.1.4 Frank Thiess: Abschied von Thomas Mann __________________________________ 38 2.2.1.5 Otto Flake ____________________________________________________________ 44 2.2.1.6 Wilhelm Hausenstein ___________________________________________________ 47 2.2.1.7 Erich Kästner _________________________________________________________ 49 2.2.1.8 Alexander Lernet-Holenia ________________________________________________ 54 2.2.2 Stimmen für Thomas Mann ___________________________________________________ -
Catastrophe and Identity in Post-War German Literature. Aaron Dennis Horton East Tennessee State University
East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 12-2005 Catastrophe and Identity in Post-War German Literature. Aaron Dennis Horton East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the History Commons Recommended Citation Horton, Aaron Dennis, "Catastrophe and Identity in Post-War German Literature." (2005). Electronic Theses and Dissertations. Paper 1061. https://dc.etsu.edu/etd/1061 This Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. Catastrophe and Identity in Post-War German Literature ____________________ A thesis presented to the faculty of the Department of History East Tennessee State University In partial fulfillment of the requirements for the degree Master of Arts in History ____________________ by Aaron Horton December 2005 ____________________ Stephen G. Fritz, PhD, Chair Professor Christa Hungate William D. Burgess Jr., PhD Keywords: Germany, literature, novels, identity, memory ABSTRACT Catastrophe and Identity in Post-War German Literature by Aaron Horton The purpose of this study is to examine selected German literature dealing with issues of history and identity in light of the catastrophic reshaping of society after World War II and reunification. The research process will involve an examination of selected authors and their works that are most relevant to the topic. In order to provide a clear understanding not only of important literary themes but also of the appropriate historical context, attention will be devoted to providing biographical information in addition to critical literary analysis. -
Fritz Kortner's Return to Germany and the Figure of the Returning
© Christiane Schönfeld, Mary Immaculate College, Limerick. A later version of this text was published as: “Fritz Kortner’s Return to Germany and the Figure of the Returning Exile in Kortner’s The Mission and Josef v. Báky’s Der Ruf”, Feuchtwanger-Studien 3 (2013): 475-94. CHRISTIANE SCHÖNFELD Fritz Kortner’s Return to Germany and the Figure of the Returning Exile in Kortner’s The Mission and Josef v. Báky’s Der Ruf Fritz Kortner,1 the celebrated actor both on stage and screen, left increasingly anti-Semitic and right-wing Germany in 1932 and moved with his young family from Berlin to Ascona in Switzerland. In his autobiography Aller Tage Abend, Kortner describes at length his stubborn refusal to see himself as an exile ‘in irgendeiner Fremde’,2 until Leonhard Frank eventually persuaded him of the inevitability of emigration. By the early 1930s right-wing theatre critics were pouring anti-Semitic grime over Kortner with increasing brutality,3 and there is a distinct shift in Kortner’s memoirs from a marked enthusiasm for and rootedness in Berlin with its many cafés and familiar faces to a sense of loss and alienation. Berlin had turned into an alien place and Germany into a strange, enemy nation — ‘eine[] fremde[] und feindlich gewordene[] Welt’.4 When Hitler came to power, Fritz Kortner and his wife Johanna Hofer emigrated to Britain (via the Czech Republic, Vienna and Paris), where Kortner managed to work in the film industry until 1937, despite his struggles with the English language.5 He then moved to New York, Johanna Hofer6 and their two children followed in 1938.7 The family finally settled in Los Angeles, where Kortner appeared in nine films, wrote scripts, but worked predominantly as a ‘gimmick man’ (as his 1 Fritz Kortner (1892-1970) was born in Vienna as Fritz Nathan Kohn. -
Der Krieg Hat Uns Für Alles Verdorben“
„Der Krieg hat uns für alles verdorben“ Die Darstellung des Ersten Weltkrieges in den beiden englischen Übersetzungen des Klassikers Im Westen nichts Neues von Erich Maria Remarque Masterarbeit zur Erlangung des akademischen Grades Master of Arts (MA) an der Karl-Franzens-Universität Graz vorgelegt von Jasmin Stranzl, BA am Institut für Theoretische und Angewandte Translationswissenschaft Begutachterin: Ao.Univ.-Prof. Mag. Dr.phil. Michaela Wolf Graz, 2019 Danksagung: An dieser Stelle möchte ich mich bei allen guten Geistern bedanken, die mich im Laufe des Schreibprozesses meiner Masterarbeit entweder aktiv durch das Korrekturlesen einzelner Passagen oder auch moralisch unterstützt haben und mir die nötige Motivation gegeben haben, um diese erfolgreich zu beenden. Ein großer Dank gilt meiner Betreuerin Ao.Univ.-Prof. Mag. Dr.phil. Michaela Wolf, die mich durch den gesamten Ablauf von der Konzepterstellung bis hin zur Fertigstellung meiner Masterarbeit begleitet und dabei tatkräftig unterstützt hat. Seite 2 von 107 Inhaltsverzeichnis Einleitung .................................................................................................................................. 5 1 „Die erste Granate, die einschlug, traf in unser Herz“ – Der Erste Weltkrieg aus deutscher Sicht .......................................................................................................................... 7 1.1 Kriegsverlauf ............................................................................................................... 8 1.2 Folgen -
Closing the Gap Between Music and History in Thomas Mann's Doktor
Closing the gap between music and history in Thomas Mann’sDoktor Faustus Rosemary Pratt A thesis submitted for the degree of Doctor of Philosophy of the University of London Department of German University College London March 2000 ProQuest Number: U642797 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest U642797 Published by ProQuest LLC(2015). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract The thesis aims to systematise in more detail than has been attempted to date the portrayal of music and German history in Doktor Faustus, and connections made between them. It first traces Mann's interest in pohfics and music, and how these were brought together in writing Doktor Faustus. It then examines discourse about music in the novel, separating description of the timeless, ontological features of music from descriptions of compositions, as particular historical manifestations of that ontology. The composer is seen as the key intermediary between ontological and historical features. The thesis then examines Adrian Leverkiihn’s role; both the manifestation of music’s ontology in his works, and the place of ‘Erkenntnis’ in them.