Author: Thomas Mann
Publisher: Univ of California Press
Release Date: 1990
Thomas Mann, fascinated with the concept of genius and with the richness of German culture, found in Johann Wolfgang von Goethe the embodiment of the German culture hero. Mann's novelistic biography of Goethe was first published in English in 1940. Lotte in Weimar is a vivid dual portrait--a complex study of Goethe and of Lotte, the still-vivacious woman who in her youth was the model for Charlotte in Goethe's widely-read The Sorrows of Young Werther. Lotte's thoughts, as she anticipates meeting Goethe again after forty years, and her conversations with those in Weimar who knew the great man, allow Mann to assess Goethe's genius from many points of view. Hayden White's fresh appraisal of the novel reveals its consonances with our own concerns.
Author: Noah William Isenberg
Publisher: Columbia University Press
Release Date: 2009
Genre: Performing Arts
In this comprehensive companion to Weimar cinema, chapters address the technological advancements of each film, their production and place within the larger history of German cinema, the style of the director, the actors and the rise of the German star, and the critical reception of the film.
Author: Thomas Mann
Release Date: 2015-02-22
Mondliteraturo en Esperanto: Tradukis Karl Schulze. Kun enkonduko de Ulrich Becker. La Nobel-premiita germana verkisto Thomas Mann skribis en "Lotte ein Weimar" sian plej personan kaj eble plej ambician romanon: La iama amatino de Goethe (Charlotte, nomita Lotte) venas al la urbo Weimar (44 jarojn post la amrilato) por revidi lin, kiu intertempe estas mondfama viro - fama i.a. pro la fakto ke li skribis sian unuan sukcesan romanon ("La Suferoj de la juna Werther") ĝuste pri la amrilato al Lotte... Sed "Lotte en Weimar" estas multe pli ol la revido inter Lotte kaj Goethe - ĝi estas subtila historia pentraĵo pri la tempoj de Goethe kaj Mann, pri la germana "animo", pri la rilato de famuloj al la popolo (kaj inverse), kaj - kiel ĉiam ĉe Thomas Mann - pri ĉiuj ajn homaj vantecoj. Komplika, bela, serioza, humura - grandioza romano. Thomas Mann skribis "Lotte en Weimar" dum sia ekzila tempo en Usono (en la dua duono de la 30-aj jaroj). Esperantigita de la tradukisto de "Faŭsto" (de Goethe) kaj de la "Trigroŝa Romano" (de Bertolt Brecht): Karl Schulze.
Author: Hannelore Mundt
Publisher: Univ of South Carolina Press
Release Date: 2004-01
Genre: Literary Criticism
Understanding Thomas Mann offers a comprehensive guide to the novels, short stories, novellas, and nonfiction of one of the most renowned and prolific German writers. In addition to analyzing Mann's most famous works, including Buddenbrooks, Death in Venice, The Magic Mountain, and Doctor Faustus, Hannelore Mundt introduces readers to lesser-known works, among them Joseph and His Brothers, Lotte in Weimar, and The Black Swan. In close readings, Mundt illustrates how Mann's masterly prose captures both his time and the complexities of human existence with a unique blend of humor, compassion, irony, and ambiguity. Mundt takes readers chronologically from Mann's literary beginnings in 1894 to his last novel, Confessions of Felix Krull, Confidence Man. She considers the influence of Arthur Schopenhauer and Friedrich Nietzsche on the emergence of Mann's literary voice, his conflicted feelings about his bourgeois background, and his life as Germany's representative writer in the Weimar Republic and in exile. discusses his recurring thematic concerns - the individual's rebellion against oppressive bourgeois conventions and antihumanistic principles, the need for an unremitting questioning of authority and ostensibly absolute truths, and the antagonism between individualistic freedom and social responsibility. In light of the recent publication of Mann's diaries, disclosing his homosexual inclinations, Mundt also identifies the textual strategies he adopted for revealing and simultaneously masking his secret sexuality. Mann emerges from Mundt's analysis as a writer who plays with opposing perspectives in his fictional renderings of both the alienated individual and Germany's cultural and political history. Mundt suggests that the openness of his works, paired with his deep insights into human existence, explains his stature as a literary figure whose importance extends worldwide.
Author: Anton Kaes
Publisher: Princeton University Press
Release Date: 2011-10-02
Shell Shock Cinema explores how the classical German cinema of the Weimar Republic was haunted by the horrors of World War I and the the devastating effects of the nation's defeat. In this exciting new book, Anton Kaes argues that masterworks such as The Cabinet of Dr. Caligari, Nosferatu, The Nibelungen, and Metropolis, even though they do not depict battle scenes or soldiers in combat, engaged the war and registered its tragic aftermath. These films reveal a wounded nation in post-traumatic shock, reeling from a devastating defeat that it never officially acknowledged, let alone accepted. Kaes uses the term "shell shock"--coined during World War I to describe soldiers suffering from nervous breakdowns--as a metaphor for the psychological wounds that found expression in Weimar cinema. Directors like Robert Wiene, F. W. Murnau, and Fritz Lang portrayed paranoia, panic, and fear of invasion in films peopled with serial killers, mad scientists, and troubled young men. Combining original close textual analysis with extensive archival research, Kaes shows how this post-traumatic cinema of shell shock transformed extreme psychological states into visual expression; how it pushed the limits of cinematic representation with its fragmented story lines, distorted perspectives, and stark lighting; and how it helped create a modernist film language that anticipated film noir and remains incredibly influential today. A compelling contribution to the cultural history of trauma, Shell Shock Cinema exposes how German film gave expression to the loss and acute grief that lay behind Weimar's sleek façade.
Author: Eric D. Weitz
Publisher: Princeton University Press
Release Date: 2018-09-04
Thoroughly up-to-date, skillfully written, and strikingly illustrated, Weimar Germany brings to life an era of unmatched creativity in the twentieth century—one whose influence and inspiration still resonate today. Eric Weitz has written the authoritative history that this fascinating and complex period deserves, and he illuminates the uniquely progressive achievements and even greater promise of the Weimar Republic. Weitz reveals how Germans rose from the turbulence and defeat of World War I and revolution to forge democratic institutions and make Berlin a world capital of avant-garde art. He explores the period’s groundbreaking cultural creativity, from architecture and theater, to the new field of "sexology"—and presents richly detailed portraits of some of the Weimar’s greatest figures. Weimar Germany also shows that beneath this glossy veneer lay political turmoil that ultimately led to the demise of the republic and the rise of the radical Right. Yet for decades after, the Weimar period continued to powerfully influence contemporary art, urban design, and intellectual life—from Tokyo to Ankara, and Brasilia to New York. Featuring a new preface, this comprehensive and compelling book demonstrates why Weimar is an example of all that is liberating and all that can go wrong in a democracy.
Author: O. Ashkenazi
Release Date: 2012-03-14
Genre: Performing Arts
In reading popular films of the Weimar Republic as candid commentaries on Jewish acculturation, Ofer Ashkenzi provides an alternative context for a re-evaluation of the infamous 'German-Jewish symbiosis' before the rise of Nazism, as well as a new framework for the understanding of the German 'national' film in the years leading to Hitler's regime.
Author: Thomas Elsaesser
Release Date: 2013-04-15
Genre: Performing Arts
German cinema of the 1920s is still regarded as one of the 'golden ages' of world cinema. Films such as The Cabinet of Dr Caligari, Dr Mabuse the Gambler, Nosferatu, Metropolis, Pandora's Box and The Blue Angel have long been canonised as classics, but they are also among the key films defining an image of Germany as a nation uneasy with itself. The work of directors like Fritz Lang, F.W. Murnau and G.W. Pabst, which having apparently announced the horrors of fascism, while testifying to the traumas of a defeated nation, still casts a long shadow over cinema in Germany, leaving film history and political history permanently intertwined. Weimar Cinema and After offers a fresh perspective on this most 'national' of national cinemas, re-evaluating the arguments which view genres and movements such as 'films of the fantastic', 'Nazi Cinema', 'film noir' and 'New German Cinema' as typically German contributions to twentieth century visual culture. Thomas Elsaesser questions conventional readings which link these genres to romanticism and expressionism, and offers new approaches to analysing the function of national cinema in an advanced 'culture industry' and in a Germany constantly reinventing itself both geographically and politically. Elsaesser argues that German cinema's significance lies less in its ability to promote democracy or predict fascism than in its contribution to the creation of a community sharing a 'historical imaginary' rather than a 'national identity'. In this respect, he argues, German cinema anticipated some of the problems facing contemporary nations in reconstituting their identities by means of media images, memory, and invented traditions.
This volume focuses on the flourishing of irony as a primary characteristic of the great era of European narrative sophistication from the Goethezeit to Modernism. Its eighteenth essays explore varieties of ironic consciousness associated with texts especially of northern Europe, and the ways they established a dialogue with and on literature and culture at large. As the volume shows, this interrogation of Europe's self-awareness of cultural identity bound up in reading and writing habits gained a new post-Cervantine complexity in Romanticism and has been of lasting significance for literary theory down to postmodernism. By its comparativistic framing of the issues raised by ironic consciousness, Narrative Ironiesduly serves as a Festschrift honoring Lilian R. Furst. Among major writers treated are Sterne, Goethe, Godwin, Schlegel, Hoffmann, Poe, Stendhal, Kierkegaard, Disraeli, Keller, Maupassant, Zola, Huysmans, Wilde, Tolstoi, Hofmannsthal, Strindberg, Proust, Mann, Musil, Kafka, Joyce, Faulkner, and Szczypiorski.