Die Herrschaft der Liebe: Die Einzige Lösung Gottes in den Zwei Herzen der Liebe (German Edition)

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November in Bunhill bei London war ein englischer Dichter und Staatsphilosoph. Ich diene beiden, die mich alles lehrten. Thou art more lovely and more temperate: Rough winds do shake the darling buds of May, And summer's lease hath all too short a date: Sometime too hot the eye of heaven shines, And often is his gold complexion dimm'd; And every fair from fair sometime declines, By chance or nature's changing course untrimm'd; But thy eternal summer shall not fade Nor lose possession of that fair thou owest; Nor shall Death brag thou wander'st in his shade, When in eternal lines to time thou growest: So long as men can breathe or eyes can see, So long lives this and this gives life to thee.

William Shakespeare. April in Wiesbaden war ein deutscher Schriftsteller. Nie prahle Tod, du gingst in seinem Schatten. In ewigen Reimen ragst du in die Zeit. Solang als Menschen atmen, Augen sehn Wird dies und du der darin lebt bestehn. So lang, wie Menschen atmen, Augen sehn, so lang lebt dies, so lang wirst du bestehn. Die Sonette. This highly inventive, blackly humorous tale, told entirely in rhymed couplets, was written and illustrated by Wilhelm Busch and published in Busch's classic tale of the terrible duo now in the public domain has since become a proud part of the culture in German-speaking countries.

Even to day, parents usually read these tales to their not-yet-literate children. Hope you enjoy reading the German-English text. Und dies hier: I will arise and go now, And go to Innisfree, And a small cabin build there, Of clay and wattles made; Nine bean rows will I have there, A hive for the honey bee, And live alone in the bee-loud glade. And I shall have some peace there, For peace comes dropping slow, Dropping from the veils of the morning To where the cricket sings; There midnight's all a glimmer, And noon a purple glow, And evening full of the linnet's wings.

I will arise and go now, For always night and day I hear lake water lapping With low sounds by the shore; While I stand on the roadway Or on the pavements gray, I hear it in the deep heart's core. William Butler Yeats, Comment Re. Thus began the King and spake: 'So from the halls Of ancient hofburg's walls, A luxuriant Spring shall break.

To the barrier of the fight Rode at last a sable Knight. Pipe and viol call the dances, Torch-light through the high halls glances; Waves a mighty shadow in; With manner bland Doth ask the maiden's hand, Doth with ter the dance begin. Danced in sable iron sark, Danced a measure weird and dark, Coldly clasped her limbs around; From breast and hair Down fall from her the fair Flowerets, faded, to the ground.

To the sumptuous banquet came Every Knight and every Dame, 'Twixt son and daughter all distraught, With mournful mind The ancient King reclined, Gazed at them in silent thought. Pale the children both did look, But the guest a beaker took: 'Golden wine will make you whole! The children drank, Gave many a courteous thank: 'O, that draught was very cool! Spake the grim Guest, From his hollow, cavernous breast; 'Roses in the spring I gather!

Comment my mind is my mind is a big hunk of irrevocable nothing which touch and taste and smell and hearing and sight keep hitting and chipping with sharp fatal tools. Lloyd N. Comment Don't tell me property is sacred! Don't tell me property is sacred! Things that move--yes! Whereas I'm quiet. I was born with poor eyes and a house. She lived most of her life here in rural isolation. Comment Ode on a Grecian Urn Thou still unravish'd bride of quietness, Thou foster-child of silence and slow time, Sylvan historian, who canst thus express A flowery tale more sweetly than our rhyme: What leaf-fring'd legend haunts about thy shape Of deities or mortals, or of both, In Tempe or the dales of Arcady?

What men or gods are these? What maidens loth? What struggle to escape? What wild ecstasy? Heard melodies are sweet, but those unheard Are sweeter; therefore, ye soft pipes, play on; Not to the sensual ear, but, more endear'd, Pipe to the spirit ditties of no tone: Fair youth, beneath the trees, thou canst not leave Thy song, nor ever can those trees be bare; Bold Lover, never, never canst thou kiss, Though winning near the goal yet, do not grieve; She cannot fade, though thou hast not thy bliss, For ever wilt thou love, and she be fair! Ah, happy, happy boughs! Who are these coming to the sacrifice?

What little town by river or sea shore, Or mountain-built with peaceful citadel, Is emptied of this folk, this pious morn? And, little town, thy streets for evermore Will silent be; and not a soul to tell Why thou art desolate, can e'er return. Attic shape! Fair attitude!

Calligramme konkrete Poesie All, This article is not meant as a lecture but more of a common forum for sharing poems that may be interesting for various reasons, including your very personal taste. I look forward to receiving some input from you every now and then O, my Luve's like the melodie, That's sweetly play'd in tune. As fair art thou, my bonie lass, So deep in luve am I, And I will luve thee still, my Dear, Till a' the seas gang dry. Till a' the seas gang dry, my Dear, And the rocks melt wi' the sun! O I will luve thee still, my Dear, While the sands o' life shall run.

And fare thee weel, my only Luve, And fare thee weel a while! And I will come again, my Luve, Tho' it were ten thousand mile! Und lebe wohl, meine einzige Liebe, und lebe eine Weile wohl! Comment Die Pansies von franz. Lawrence s. And when we fail to transmit life, life fails to flow through us. This is part of the mystery of sex, it is a flow onwards. Sexless people transmit nothing. And if, as we work, we can transmit life into our work, life, still more life, rushes into us to compensate, to be ready and we ripple with life through the days.

Even if it is a woman making an apple dumpling, or a man a stool, if life goes into the pudding, good is the pudding good is the stool, content is the woman, with fresh life rippling in to her, content is the man. Give, and it shall be given unto you is still the truth about life. But giving life is not so easy. It doesn't mean handing it out to some mean fool, or letting the living dead eat you up.

It means kindling the life quality where it was not, even if it's only in the whiteness of a washed pocket-handkerchief. Lawrence Der dritte Text war "perfection" von Ernst Jandl : Perfection 0 lovely apple! No one has moved you since I placed you on the porch rail a Month ago to ripen. No one. No one!

Wie satt und feucht der Mantel aus Braun auf jenem un- angetasteten Fleisch! Comment Phillipp: Many thanks for introducing selected poems by D. Lawrence here. Idiosynchratic works are appreciated. Vielen Dank. Spring Breezes Spring breezes over the blue, now lightly frolicking in some tropic bay, go forth to meet her way, for here the spell hath won and dream is true. And now I bid thee bring tenderly hither over a subject sea that golden one whose grace hath made me king, and, soon to glad my gaze at shut of day, loosen'd in happy air her charmed hair.

Oktober ebd. Comment A Gift See! I give myself to you, Beloved! My words are little jars For you to take and put upon a shelf. Their shapes are quaint and beautiful, And they have many pleasant colours and lustres To recommend them. Also the scent from them fills the room With sweetness of flowers and crushed grasses. When I shall have given you the last one, You will have the whole of me, But I shall be dead.

Mai ebenda war eine amerikanische Frauenrechtlerin und Dichterin. A bird picks up its seeds or little snails between heedless earth and heaven in heedlessness. But, the plucky little sport, it gives to life song, and chirruping, gay feathers, fluff-shadowed warmth and all the unspeakable charm of birds hopping and fluttering and being birds. Kronen schimmern in den Kirchen.

Ihre feuchten Lippen beben Und sie warten an den Toren. Fremde lauschen auf den Stufen. Helle Instrumente singen. Wer hat denn das Monopol auf die 'richtige' Interpretation eines Gedichtes? And as they sojourned both of them together, Isaac the first-born spake and said, My Father, Behold the preparations, fire and iron, But where the lamb for this burnt-offering? When lo! Caught in a thicket by its horns, A Ram. Offer the Ram of Pride instead.

But the old man would not so, but slew his son, And half the seed of Europe, one by one. Wilfred Owen, For he is the servant of the Living God duly and daily serving him. For at the first glance of the glory of God in the East he worships in his way. For is this done by wreathing his body seven times round with elegant quickness. For then he leaps up to catch the musk, which is the blessing of God upon his prayer. For he rolls upon prank to work it in. For having done duty and received blessing he begins to consider himself.

For this he performs in ten degrees. For first he looks upon his fore-paws to see if they are clean. For secondly he kicks up behind to clear away there.

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For thirdly he works it upon stretch with the fore-paws extended. For fourthly he sharpens his paws by wood. For fifthly he washes himself. For sixthly he rolls upon wash. For seventhly he fleas himself, that he may not be interrupted upon the beat. For eighthly he rubs himself against a post. For ninthly he looks up for his instructions. For tenthly he goes in quest of food. For having consider'd God and himself he will consider his neighbour.

For if he meets another cat he will kiss her in kindness. For when he takes his prey he plays with it to give it chance. For one mouse in seven escapes by his dallying. For when his day's work is done his business more properly begins. For he keeps the Lord's watch in the night against the adversary. For he counteracts the powers of darkness by his electrical skin and glaring eyes. For he counteracts the Devil, who is death, by brisking about the life.

For in his morning orisons he loves the sun and the sun loves him. For he is of the tribe of Tiger. Christopher Smart was an English poet, a major contributor to popular magazines and a friend to influential writers such as Samuel Johnson and Henry Fielding. A high church Anglican, Smart was known throughout London. He was infamous for his role as "Mrs. Mary Midnight" and widespread accounts of his father-in-law, John Newbery, locking him away in a mental asylum for many years over his religious "mania". Smart's two best-known works are A Song to David and Jubilate Agno , both written at least partly during his confinement in asylum.

Jubilate Agno was not published until Wie Despoten enden, hat's dich Nicht gelehrt des Bruders Beispiel? Nicht gelehrt des Vaters Beispiel? Nicht des Vaters-Vaters Beispiel? Blutig fingst auch du zu herrschen An! August von Platen, ; aus den "Polenliedern". November ist ein deutscher Lyriker und Essayist; Autor gesellschaftskritischer Lyrik z. Wort und Vers werden mit anscheinend spielerischer Leistung gehandhabt, u.

Comment Buttercups and Daisies I never see a young hand hold The starry bunch of white and gold, But something warm and fresh will start About the region of my heart; - My smile expires into a sigh; I feel a struggling in my eye, 'Twixt humid drop and sparkling ray, Till rolling tears have won their way; For, soul and brain will travel back, Through memory's chequer'd mazes, To days, when I but trod life's track For buttercups and daisies.

There seems a bright and fairy spell About there very names to dwell; And though old Time has mark'd my brow With care and thought, I love them now. Smile, if you will, but some heartstrings Are closest link'd to simplest things; And these wild flowers will hold mine fast, Till love, and life, and all be past; And then the only wish I have Is, that the one who raises The turf sod o'er me, plant my grave With buttercups and daisies. Eliza Cook — Valentine Not a red rose or a satin heart.

I give you an onion. It is a moon wrapped in brown paper. It promises light like the careful undressing of love. It will blind you with tears like a lover. It will make your reflection a wobbling photo of grief. I am trying to be truthful. Not a cute card or a kissogram. Dezember in Glasgow ist eine schottische Lyrikerin und Dramatikerin. Comment "There was a man and he was mad" There was a man and he was mad And he ran up the steeple, And there he cut his nose off And flung it at the people.

Comment Vergissmeinnicht Three weeks gone and the combatants gone, returning over the nightmare ground we found the place again, and found the soldier sprawling in the sun. The frowning barrel of his gun overshadowing. As we came on that day, he hit my tank with one like the entry of a demon. Here in the gunpit spoil the dishonoured picture of his girl who has put: Steffi. Vergissmeinnicht in a copybook gothic script. But she would weep to see today how on his skin the swart flies move; the dust upon the paper eye and the burst stomach like a cave.

For here the lover and killer are mingled who had one body and one heart. And death who had the soldier singled has done the lover mortal hurt. Keith Douglas , English poet, killed in action in France. I have slipped the surly bonds of Earth And danced the skies on laughter-silvered wings; Sunward I've climbed, and joined the tumbling mirth of sun-split clouds,-and done a hundred things You have not dreamed of-wheeled and soared and swung High in the sunlit silence.

Hov'ring there, I've chased the shouting wind along, and flung My eager craft through footless halls of air June 9, — December 11, was an Anglo-American aviator and poet who died as a result of a mid-air collision over Lincolnshire during World War II. Comment Monet's Waterlilies Today as the news from Selma and Saigon poisons the air like fallout, I come again to see the serene, great picture that I love. Here space and time exist in light the eye like the eye of faith believes.

The seen, the known dissolve in iridescence, become illusive flesh of light that was not, was, forever is. He was appointed Consultant in Poetry to the Library of Congress in Comment The Invisible With a flutter and a pitterpat The pigeon settles on the parapet. Draw down from your palate then A tightening tongue, and cluck. The pigeon turns his iridescent head, But how he hears is anybody's guess. By what other channel than an ear, When he has none, can any pigeon hear? Along the parapet he waddles, next, Not closer, but away, and eyeing still The middle of a nowhere Schumann said , Root of a distress my tongue alerts him to.

A second triple claw touches the parapet, And fear is a force, molding the invisible. No big deal, pigeon. You are wise to scare; Wiser than me to see nobody there. Christopher Middleton b. Comment Naturgesetze und psychologische Gesetze I was angry with my foe: I told it not, my wrath did grow. And I waterd it in fears, Night and morning with my tears: And I sunned it with smiles, And with soft deceitful wiles. And it grew both day and night, Till it bore an apple bright.

And my foe beheld it shine, And he knew that it was mine. And into my garden stole. When the night had veiled the pole; In the morning glad I see, My foe outstretchd beneath the tree. William Blake — And on Tuesday he fell on the hill And the happy lamb Never knew why the loud collie straddled him. And on Wednesday he fell on a bush And the blackbird Laid by his little flute for the last time. George Mackay Brown , splendid Orkney poet who wrote in English. I suppose I've passed it a hundred times, but I always stop for a minute And look at the house, the tragic house, the house with nobody in it.

I never have seen a haunted house, but I hear there are such things; That they hold the talk of spirits, their mirth and sorrowings. I know this house isn't haunted, and I wish it were, I do; For it wouldn't be so lonely if it had a ghost or two. This house on the road to Suffern needs a dozen panes of glass, And somebody ought to weed the walk and take a scythe to the grass.

It needs new paint and shingles, and the vines should be trimmed and tied; But what it needs the most of all is some people living inside. If I had a lot of money and all my debts were paid I'd put a gang of men to work with brush and saw and spade. I'd buy that place and fix it up the way it used to be And I'd find some people who wanted a home and give it to them free. Now, a new house standing empty, with staring window and door, Looks idle, perhaps, and foolish, like a hat on its block in the store. But there's nothing mournful about it; it cannot be sad and lone For the lack of something within it that it has never known.

But a house that has done what a house should do, a house that has sheltered life, That has put its loving wooden arms around a man and his wife, A house that has echoed a baby's laugh and held up his stumbling feet, Is the saddest sight, when it's left alone, that ever your eyes could meet. So whenever I go to Suffern along the Erie track I never go by the empty house without stopping and looking back, Yet it hurts me to look at the crumbling roof and the shutters fallen apart, For I can't help thinking the poor old house is a house with a broken heart.

Joyce Kilmer December 6, — July 30, was an American journalist, poet, literary critic, lecturer, and editor. Busk ye, busk ye, my winsome marrow! Busk ye, busk ye, my bonnie, bonnie bride! And think nae mair on the braes of Yarrow! Where got ye that winsome marrow? Weep not, weep not, my winsome marrow! Why does she weep, thy winsome marrow? Why on thy braes is heard the voice of sorrow? And why yon melancholious weeds Hung on the bonnie birks of Yarrow.

O dule and sorrow! As sweet, as sweet flows Tweed; As green its grass, its gowan as yellow; As sweet smells on its braes the birk, The apple from its rocks as mellow. Busk, ye, busk ye, my winsome marrow! How can I busk, a winsome marrow? For there was basely slain my love— My love as he had not been a lover. I little, little knew He was in these to meet his ruin!

With bridal sheets my body cover! Unbar, ye bridal maids, the door; Let in the expected husband lover! His hands, methinks, are bathed in slaughter. Ah me! No youth lay ever there before thee. O lovely, lovely youth! Forgive, forgive so foul a slaughter; And lie all night between my breasts! No youth shall ever lie there after.

Return, and dry thy useless sorrow! Thy lover heeds nought of thy sighs— He lies a corpse on the braes of Yarrow. His health is said to have been delicate, leading him to spend a deal of his time indoors, in study; where he become enthusiastic about literature, and began to write poetry. The song is believed to be based on an actual incident. The hero of the ballad was a knight of great bravery, popularly believed to be John Scott, sixth son of the Laird of Harden.

According to history, he met a treacherous and untimely death in Ettrick Forest at the hands of his kin, the Scotts of Gilmanscleugh in the seventeenth century. However, recent scholars are sceptical about this story as the origin of the song. To equip, prepare, make ready.

To adorn, to deck, dress up. Of people: tall. Comment At The Ball Game The crowd at the ball game is moved uniformly by a spirit of uselessness which delights them -- all the exciting detail of the chase and the escape, the error the flash of genius Comment Not Waving But Drowning Nobody heard him, the dead man, But still he lay moaning: I was much further out than you thought And not waving but drowning. All the poet has to do is listen. The poet is not an important fellow. There will always be another poet. Comment The Bonnie Broukit Bairn Mars is braw in crammasy, Venus in a green silk goun, The auld mune shak's her gowden feathers, Their starry talk's a wheen o' blethers, Nane for thee a thochtie sparin', Earth, thou bonnie broukit bairn!

Comment Hugh MacDiarmid When he speaks a small sentence he is a man who presses a plunger that will blow the face off a cliff. Or he dynamites a ramshackle idea--when the dust settles, what structures shine in the sun. Comment Die Gedanken sind frei Fassung um 1. Es bleibet dabei: Die Gedanken sind frei.

Die Gedanken sind frei Wer kann sie erraten? Die Gedanken sind frei. Comment Atlantis--A Lost Sonnet How on earth did it happen, I used to wonder that a whole city--arches, pillars, colonnades, not to mention vehicles and animals--had all one fine day gone under? And so, in the best traditions of where we come from, they gave their sorrow a name and drowned it. Comment Phillipp: Ja, die schottische und irische Dichtung ist bisher zu kurz gekommen.

Die zweite Strophe sollte eigentlich so anfangen:. There seems a bright and fairy spell About their very names to dwell; And though old Time has mark'd my brow With care and thought, I love them now. Chaostranslater: Several critics, both Kilmer's contemporaries and modern scholars, disparaged Kilmer's work as being too simple, overly sentimental, and suggested that his style was far too traditional, even archaic. Stevie Smith kannte ich noch nicht. Die Haltung, die sie in ihren Gedichten einnimmt, ist recht eigenwillig und originell.

It is a human face that hides A monkey soul within, That bangs about, that beats a gong, That makes a horrid din. Sometimes the monkey soul will sprawl Athwart the human eyes, And peering forth, will flesh its pads, And utter social lies. Reprinted by permission of New Directions Publishing Corporation. Comment A Wasted Illness Through vaults of pain, Enribbed and wrought with groins of ghastliness, I passed, and garish spectres moved my brain To dire distress.

Thereon ahead I saw a door extend - The door to death. And yet Those backward steps through pain I cannot view Without regret. Thomas Hardy 2 June — 11 January After years of writing novels to earn his living — novels which contain seams of poetry, but in which he felt constrained to work to the demands of the market — poetry came to him as a relief and a pleasure. Extract from intro: Poems of Thomas Hardy. Selected and Introduced by Claire Tomalin, which does not include the above poem.

Sie sagten: "Du hast eine blaue Gitarre, Du spielst die Dinge nicht, wie sie sind. Doch endlich kamen sie einander in die Haare, Und ihre Republik versank in Anarchie. Ha, rief das arme Volk mit tiefgesenkten Ohren Und mit geschundner Haut, was haben wir getan! Gottlieb Konrad Pfeffel: Satiriker und Philanthrop, All things counter, original, spare, strange; ::Whatever is fickle, freckled who knows how? Juni in Dublin war ein britischer Lyriker und Jesuit, dessen Gedichte vor allem wegen der Lebendigkeit ihres Ausdrucks bewundert werden.

The day was green. They said, "You have a blue guitar, You do not play things as they are. Wallace Stevens. Then Napoleon took over the plan to build the mill. While the animals starved and slaved under the slogan, "I will work harder," the pigs moved into Jones's farmhouse, and the glorification of the Leader as Comrade Napoleon was now called became systematic. Hens were sometimes heard to say: "Under the guidance of our Leader, Comrade Napoleon, I have laid five eggs in six days.

Fountain of happiness! Lord of the swill-bucket! Thou art the giver of All that thy creature love, Full belly twice a day, clean straw to roll upon; Every beast great or small Sleeps at peace in his stall, Thou watchest over all, Comrade Napoleon! George Orwell — The Seven Commandments 1. Whatever goes upon two legs is an enemy. Whatever goes upon four legs, or has wings, is a friend. No animal shall wear clothes. No animal shall sleep in a bed. No animal shall drink alcohol. No animal shall kill any other animal. All animals are equal. Comment A Marriage We met under a shower of bird-notes.

Fifty years passed, love's moment And she, who in life had done everything with a bird's grace, opened her bill now for the shedding of one sigh no heavier than a feather. Thomas , walisischer Lyriker, der auf englisch schrieb. Seine kurze Autobiographie verfasste er auf Walisisch. You make it for yourself firstly, and then if other people want to join in then there we are.

Comment Friendship A ruddy drop of manly blood The surging sea outweighs, The world uncertain comes and goes; The lover rooted stays. I fancied he was fled,- And, after many a year, Glowed unexhausted kindliness, Like daily sunrise there. My careful heart was free again, O friend, my bosom said, Through thee alone the sky is arched, Through thee the rose is red; All things through thee take nobler form, And look beyond the earth, The mill-round of our fate appears A sun-path in thy worth.

Me too thy nobleness had taught To master my despair; The fountains of my hidden life Are through thy friendship fair. I know your lust Is love.

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Sceptic Thomas! Now, do you doubt that your Bird was true? Emily Dickinson , konnte ich mir nach nicht verkneifen Is the blue changed above thee, O world! Will you change every flower that grows, Or only change this spot, Where she who said, I love thee, Now says, I love thee not? The skies seemed true above thee, The rose true on the tree; The bird seemed true the summer through, But all proved false to me. Zweifelnder Thomas! Echt war dein Vogel, fragst du nun noch? John Clare 13 July — 20 May was an English poet, born in Helpston, Northamptonshire, the son of a farm labourer who came to be known for his celebratory representations of the English countryside and his lamentation of its disruption.

In summer quite the other way, I have to go to bed by day, I have to go to bed and see The birds still hopping on the tree, Or hear the grown up people's feet Still going past me in the street, And does it not seem hard to you, When all the sky is clear and blue, And I should like so much to play, To have to go to bed by day? Robert Louis Stevenson —94, Scottish novelist, poet, and essayist,. Comment The Invitation It doesn't interest me what you do for a living.

I want to know what you ache for, and if you dare to dream of meeting your heart's longing. It doesn't interest me how old you are. I want to know if you will risk looking like a fool for love, for your dreams, for the adventure of being alive. It doesn't interest me what planets are squaring your moon. I want to know if you have touched the center of your own sorrow.

If you have been opened by life's betrayals or have become shriveled and closed from fear of further pain! I want to know if you can sit with pain, mine or your own, without moving to hide it or fade it or fix it. I want to know if you can be with JOY, mine or your own; If you can dance with wildness and let the ecstacy fill you to the tips of your fingers and toes without cautioning us to be careful, be realistic, or to remember the limitations of being a human.

It doesn't interest me if the story you're telling me is true. Soon, a bronze Adonis — ogling girls! It must be done! You will realise What a position it puts Me in. I couldn't really Have died for you if so I were inclined. The carn Foxglove here on the wall Outside your first house Leans with me standing In the Zennor wind. Anyhow how are things? Are you still somewhere With your long legs And twitching smile under Your blue hat walking Across a place?

Or am I greedy to make you up Again out of memory? Graham , Graham was born in Greenock, Scotland. His first book, Cage Without Grievance was published in Er hat's begangen, Er hat's vollbracht! Er baute Tempel Dem Teufel selbst! Er hat's begangen, Er ist erkannt! Er ist ein Satan, Die Maske fiel! Sie singen laut ihm Triumph, Triumph! Doch ach, es graut ihm, Wie sehr sie dudeln!

Harpy'n besudeln Gesalbtes Haupt. August von Platen , Aus den "Polenliedern". Bett stinkt bei Bett. Komm, hebe ruhig diese Decke auf. Das Fleisch ist weich und schmerzt nicht. Gottfried Benn - gilt als einer der bedeutendsten deutschen Dichter der literarischen Moderne. Comment Oh ja, ein paar deutschsprachige Lyriker dazu ist auch nicht schlecht. Comment Und wie lautet der Titel zu diesem Gedicht, Phillipp? Erscheint auf S. Die letzten zwei Zeilen sind gut. Aber dann wie kann es ja anders sein?

Aber wie gesagt: Danke! Comment Der alte Lear will abtreten. Cordelia: Then poor Cordelia! Cordelia: Nothing, my lord. Lear: Nothing? Cordelia: Nothing. Lear: Nothing will come of nothing: speak again. Lear: How, how, Cordelia! Mend your speech a little, Lest you may mar your fortunes.

Why have my sisters husbands, if they say They love you all? Happily, when I shall wed, That lord whose hand must take my plight shall carry Half my love with him, half my care and duty: Sure I shall never marry like my sisters, To love my father all. Lear: But goes thy heart with this? Cordelia: Ay, my good Lord. Lear: So young, and so untender? Cordelia: So young, my Lord, and true. Lear: Let it be so; thy truth then be thy dower: For, by the sacred radiance of the sun, The mysteries of Hecate, and the night; By all the operation of the orbs From whom we do exist, and cease to be; Here I disclaim all my paternal care, Propinquity and property of blood, And as a stranger to my heart and me Hold thee, from this, for ever.

The barbarous Scythian, Or he that makes his generation messes To gorge his appetite, shall to my bosom Be as well neighbour'd, pitied, and relieved, As thou my sometime daughter. Comment Furcht der Geliebten Cidli, du weinest, und ich schlumre sicher, Wo im Sande der Weg verzogen fortschleicht; Auch wenn stille Nacht ihn umschattend decket, Schlumr' ich ihn sicher. Weine nicht, Cidli. Inhalt und Form decken sich auch vollkommen. Er war ein junger Schmetterling, Der selig an der Blume hing. Ach Gott, wie das dem Schmetterling So schmerzlich durch die Seele ging.

Doch was am meisten ihn entsetzt, Das Allerschlimmste kam zuletzt. Wilhelm Busch - Comment Klasse!! Die Kraft, infolge der Erregung, Verwandelt sich in Schwungbewegung. Bewegung, die in schnellem Blitze Zur Backe eilt, wird hier zu Hitze. Comment Danke, Chaostranslater. Es lohnt sich, den "einflussreichsten humoristischen Dichter und Zeichner Deutschlands" Wikip. Hier noch ein weiteres Gedichtchen: Wirklich, er war unentbehrlich!

Ohne ihn war nichts zu machen, Keine Stunde hatt' er frei. Gestern, als sie ihn begruben, War er richtig auch dabei. Wilhelm Busch aus: Kritik des Herzens Comment Seine Lyrik zeichnet sich durch eine einfache, die Nachkriegsgesellschaft in ihrer ideellen Leere spiegelnde Sprache aus, die beim Leser dennoch komplexe Assoziationen und Bilder evoziert. There's sound of distant thunder.

The latest sea-birds hover Along the cliff's sheer height; As in the memory wander Last flutterings of delight, White wings lost on the white. There's not a ship in sight; And as the sun goes under, Thick clouds conspire to cover The moon that should rise yonder. Thou art alone, fond lover. Robert Seymour Bridges — Detlev von Liliencron - Sie aalt sich im Sand und zeigt alles her.

Sie gibt der Sonne reichlich zu schaun. Aber zum 4. Todestag gest. Juni , konnte ich einfach nicht widerstehen. Summer's heat can swelter and melt As summer's heat may simmer as weld. Some summer's heat can burn as long This summer's heat can impel a song. Summer's heat can cook and bake Summer's heat of life can take. Boil and broil a heart so hot Comment At the Fishhouses Although it is a cold evening, down by one of the fishhouses an old man sits netting, his net, in the gloaming almost invisible, a dark purple-brown, and his shuttle worn and polished.

The air smells so strong of codfish it makes one's nose run and one's eyes water. The five fishhouses have steeply peaked roofs and narrow, cleated gangplanks slant up to storerooms in the gables for the wheelbarrows to be pushed up and down on. All is silver: the heavy surface of the sea, swelling slowly as if considering spilling over, is opaque, but the silver of the benches, the lobster pots, and masts, scattered among the wild jagged rocks, is of an apparent translucence like the small old buildings with an emerald moss growing on their shoreward walls.

The big fish tubs are completely lined with layers of beautiful herring scales The water seems suspended above the rounded gray and blue-gray stones. I have seen it over and over, the same sea, the same, slightly, indifferently swinging above the stones, icily free above the stones, above the stones and then the world.

If you should dip your hand in, your wrist would ache immediately, your bones would begin to ache and your hand would burn as if the water were a transmutation of fire that feeds on stones and burns with a dark gray flame. If you tasted it, it would first taste bitter, then briny, then surely burn your tongue.

It is like what we imagine knowledge to be: dark, salt, clear, moving, utterly free, drawn from the cold hard mouth of the world, derived from the rocky breasts forever, flowing and drawn, and since our knowledge is historical, flowing, and flown. The population numbered two giants, an idiot, a dwarf, a gentle storekeeper asleep behind his counter, and our kind landlady— the dwarf was her dressmaker. The idiot could be beguiled by picking blackberries, but then threw them away. The shrunken seamstress smiled. He was morose, but she was cheerful. The bedroom was cold, the feather bed close.

We were awakened in the dark by the somnambulist brook nearing the sea, still dreaming audibly. Comment ich was not yet in brasilien nach brasilien wuld ich laik du go wer de wimen arr so ander so quait ander denn anderwo ich was not yet in brasilien nach brasilien wuld ich laik du go als ich anderschdehn mange lanquidsch will ich anderschdehn auch lanquidsch in rioo Juli , S.

Comment Between the Dusk of a Summer Night Between the dusk of a summer night And the dawn of a summer day, We caught at a mood as it passed in flight, And we bade it stoop and stay. And what with the dawn of night began With the dusk of day was done; For that is the way of woman and man, When a hazard has made them one. Arc upon arc, from shade to shine, The World went thundering free; And what was his errand but hers and mine -- The lords of him, I and she?

O, it's die we must, but it's live we can, And the marvel of earth and sun Is all for the joy of woman and man And the longing that makes them one. Comment Innerlichkeit, Paarreime und Katharsis einer Leserin The More Loving One Looking up at the stars, I know quite well That, for all they care, I can go to hell, But on earth indifference is the least We have to dread from man or beast.

How should we like it were stars to burn With a passion for us we could not return? If equal affection cannot be, Let the more loving one be me. Were all stars to disappear or die, I should learn to look at an empty sky And feel its total dark sublime, Though this might take me a little time. Comment The Sons of Martha The Sons of Mary seldom bother, for they have inherited that good part; But the Sons of Martha favour their Mother of the careful soul and the troubled heart.

And because she lost her temper once, and because she was rude to the Lord her Guest, Her Sons must wait upon Mary's Sons, world without end, reprieve, or rest. It is their care in all the ages to take the buffet and cushion the shock. It is their care that the gear engages; it is their care that the switches lock. It is their care that the wheels run truly; it is their care to embark and entrain, Tally, transport, and deliver duly the Sons of Mary by land and main.

They say to mountains, 'Be ye removed. Then do the hill-tops shake to the summit -- then is the bed of the deep laid bare, That the Sons of Mary may overcome it, pleasantly sleeping and unaware. They finger death at their gloves' end where they piece and repiece the living wires. He rears against the gates they tend: they feed him hungry behind their fires. Early at dawn, ere men see clear, they stumble into his terrible stall, And hale him forth like a haltered steer, and goad and turn him till evenfall.

To these from birth is Belief forbidden; from these till death is Relief afar. They are concerned with matters hidden -- under the earthline their altars are -- The secret fountains to follow up, waters withdrawn to restore to the mouth, And gather the floods as in a cup, and pour them again at a city's drouth. They do not preach that their God will rouse them a little before the nuts work loose.

They do not teach that His Pity allows them to drop their job when they dam'-well choose. As in the thronged and the lighted ways, so in the dark and the desert they stand, Wary and watchful all their days that their brethren's days may be long in the land. Raise ye the stone or cleave the wood to make a path more fair or flat -- Lo, it is black already with blood some Son of Martha spilled for that! Not as a ladder from earth to Heaven, not as a witness to any creed, But simple service simply given to his own kind in their common need.

And the Sons of Mary smile and are blessed -- they know the Angels are on their side. They know in them is the Grace confessed, and for them are the Mercies multiplied. They sit at the Feet -- they hear the Word -- they see how truly the Promise runs. Rudyard Kipling - April in Brachthausen, Sauerland ist eine deutsche Schriftstellerin. Sie schreibt Lyrik und Romane. Heute lebt sie in Hamburg und ist mit Klaus von Dohnanyi verheiratet. O plain as plain can be There's nothing but our own red blood Can make a right Rose Tree.

He also suggests that Ireland would be green again if this conflict stopped and Irish blood has been spilt. Comment Two Months June No hope, no change! The clouds have shut us in, And through the cloud the sullen Sun strikes down Full on the bosom of the tortured Town, Till Night falls heavy as remembered sin That will not suffer sleep or thought of ease, And, hour on hour, the dry-eyed Moon in spite Glares through the haze and mocks with watery light The torment of the uncomplaining trees. Far off, the Thunder bellows her despair To echoing Earth, thrice parched.

The lightnings fly In vain. No help the heaped-up clouds afford, But wearier weight of burdened, burning air. What truce with Dawn? Look, from the aching sky, Day stalks, a tyrant with a flaming sword! September At dawn there was a murmur in the trees, A ripple on the tank, and in the air Presage of coming coolness -- everywhere A voice of prophecy upon the breeze. Up leapt the Sun and smote the dust to gold, And strove to parch anew the heedless land, All impotently, as a King grown old Wars for the Empire crumbling 'neath his hand.

One after one the lotos-petals fell, Beneath the onslaught of the rebel year, In mutiny against a furious sky; And far-off Winter whispered: -- "It is well! Behold your help is near, "For when men's need is sorest, then come I. Rudyard Kipling fehlte hier noch. Und wie viele andere Leser kannte ich Kipling eigentlich nur vom Dschungelbuch her.

Rose of All the World I am here myself; as though this heave of effort At starting other life, fulfilled my own; Rose-leaves that whirl in colour round a core Of seed-specks kindled lately and softly blown By all the blood of the rose-bush into being - Strange, that the urgent will in me, to set My mouth on hers in kisses, and so softly To bring together two strange sparks, beget Another life from our lives, so should send The innermost fire of my own dim soul out-spinning And whirling in blossom of flame and being upon me!

That my completion of manhood should be the beginning Another life from mine! For so it looks. The seed is purpose, blossom accident. The seed is all in all, the blossom lent To crown the triumph of this new descent. Is that it, woman? Does it strike you so? The Great Breath blowing a tiny seed of fire Fans out your petals for excess of flame, Till all your being smokes with fine desire?

Or are we kindled, you and I, to be One rose of wonderment upon the tree Of perfect life, and is our possible seed But the residuum of the ecstasy? How will you have it? The sharp begetting, or the child begot? Our consummation matters, or does it not? To me it seems the seed is just left over From the red rose-flowers' fiery transience; Just orts and slarts; berries that smoulder in the bush Which burnt just now with marvellous immanence. Blossom, my darling, blossom, be a rose Of roses unchidden and purposeless; a rose For rosiness only, without an ulterior motive; For me it is more than enough if the flower unclose.

Lawrence — Wie ist die Zeit vertan! Der Port naht mehr und mehr sich zu der Glieder Kahn. Gleich wie dies Licht verfiel, so wird in wenig Jahren Ich, du, und was man hat, und was man sieht, hinfahren. Dein ewig heller Glanz sei vor und neben mir! Andreas Gryphius - Ich war zornig auf den Feind; schwieg: mein Zorn vermehrte sich. Tiefer neigt sich das Korn, der rote Mohn. Das alte Lied der Grille erstirbt im Feld. Nimmer regt sich das Laub der Kastanie.

Auf der Wendeltreppe rauscht dein Kleid. Der wird zur Pflanze, wenn er will, zum Tier, zum Narr, zum Weisen, und kann in einer Stunde durchs ganze Weltall reisen. Der mit sich selbst in Frieden lebt, der wird genauso sterben, und ist selbst dann lebendiger, als alle seine Erben. Novalis, He becomes the plant if it wants, Or the animal, the fool, or wise man and can travel in an hour through the entire universe.

He knows that he nothing knows, Like the others who doesn't know anything But knows what he and the others have to learn about. Who feels alien shores in himself, and who has courage to stretch himself, to be active he will discover himself, bit by nit and undisturbed of fear. He will look downward to the mountain tops? Who hears butterflies laughing, He knows, how clouds taste, He will discover night in the moonlight undisturbed of fear. He who live in peace with himself, He will also die in peace, And he will be more lively as all his offsprings.

Translation by Novalis 'Novalis' is the name of a German art rock band from the seventies. Comment To a Skylark Hail to thee, blithe spirit! The term may refer first to the subjective meaning of the factual or historical case of a particular actor, or to the average or approximate subjective meaning attributable to a mass of actors; or secondly to the subjective meaning of conceptually constructed pure type of thought action. Aber Vorsicht: die Ich-Bezogenheit bleibt. Horace Various manifestations of the humor mode now pervade German society so widely—as they should in any democratic, free market society, the sense of humor being a basic component of human nature—that they cannot all be assessed in a single volume.

Many new books and articles on television comedy shows too many to cite here in this brief Introduction have appeared recently and will certainly continue to be published in Germany in future. And Best Nazi Humor, was recently reprinted by Kessinger in Jill Twark 7 provide a more comprehensive overview of the diverse strategies of humor used in the past two decades in Germany.

The artworks investigated here emerged after the peaceful revolution of as responses to German unification and the accompanying elation and artistic freedom, as well as to problems of alienation, dislocation, and identity reconstruction. Four dominant cultural discourses have provided the foundations for a great number of these humorous artworks.

All fourteen chapters in this anthology contribute to one or more of these four discourses, and they have been divided into five parts that reflect these topical commonalities but also differences in media format like that between literature and film. The first group, which was also the first to respond to the fall of the Berlin Wall, includes satirical magazine and newspaper cartoons and articles, cabaret performances, and other artworks in which eastern and western Germans, as well as some immigrants to Germany, struggle with the transition from a divided to a united Germany.

These artists and writers strive to create a new, unified but not monolithic, German identity. The other contributions focus on earlier German texts or on international humor. The chapters in Parts I-III of the current volume feature postwall identity issues prominently, discussing works that had previously not been addressed by scholars or viewing representative works from a new angle. As Bill Niven explains in Facing the Nazi Past: United Germany and the Legacy of the Third Reich, discussions about the Nazi period assumed a new character after unification, as eastern and western Germans no longer needed to prop up their own, opposing political systems and thus became more willing to revisit and to take a more inclusive view of it 2.

Another central reason for the revival of this topic in the s is biological. As the number of people who actually experienced the war firsthand diminishes, the urgency for survivors and their offspring to record their memories increases in inverse proportion; the older generation rightly perceives a need to convey facts and memories of the war and the Holocaust to younger generations. After the fall of the Wall, by contrast, humorous and satirical treatments of the GDR appeared immediately and continue to flourish today.

The popular literature of the young authors belonging to the Neue Deutsche Popliteratur New German Popular Literature phenomenon of the mids to the early twenty-first century make up a third category, which is also not without its controversial definitions and debates see Degler and Paulokat; Biendarra. Titles existing in English translation or, in the case of films, released in the U.

Moreover, although grounded in culturally specific social situations, politics, and history, humor is also a genre that is examined here critically to reveal a remarkable aesthetic complexity. Along with the wide variety of media formats, the strategies of humor featured here also range considerably along the humor spectrum, from subtle irony and playful humor to biting satire and the grotesque. Jill Twark 11 personae and thereby worked against the racism and xenophobia they saw increasing among some groups of Germans in the wake of the fall of the Wall. She explains how the film broke with one of the longest-standing taboos of postwar German cinema by using the genre of comedy to address the question of Jewish identity in the Berlin Republic.

Memories for them, unlike for many who experienced World War II and its immediate aftermath directly, or who were persecuted in the GDR or the USSR, are not dictated by the compulsion to connect memory with mourning or serious indignation Assmann and Frevert She then applies these insights to her investigation of select eastern German cabaret dialogues produced from to These texts show how powerful the urge was in eastern Germany after to work through negative experiences and memories of the GDR, because by definition cabaret is an art form that pokes fun at contemporary social ills rather than looking back at the past.

Kutch sees it instead as a valuable, though fictional, time capsule that exhibits a sophisticated comic book aesthetic to preserve memories of GDR youth culture. What in the U. In his twenty diary entries, Kracht describes an exotic journey he takes to the Far East, poking fun at and describing with great irony the stereotypes and preconceived notions that western readers harbor about various Asian countries.

In doing so, they lay out reasons why the emergence of new competing narratives and discourses about the past, particularly the Nazi era, still made and make the treatment of the Third Reich a sensitive subject for many Germans even sixty or more years after the Second World War. The continuing controversies provoked by some of these and other recent humorous texts and played out in the public sphere demonstrate that humor and its related modes of irony, satire, and the grotesque reflect a sensitivity toward historical and sociopolitical conditions.

The creators of humorous texts play an important role in constructing a new, unified German identity, composed of a plurality of identities. Although each of the scholars in this anthology interprets humorous texts, films, cabaret performances, or cartoons for their socially critical messages, these artworks of course also hold value for providing average citizens with amusement. They produce pleasure, demonstrate creativity and wit, and make everyday life more bearable.

Jill Twark 17 the same time enjoyable, study of the phenomenon of humor in post- unification literature, film, and other media. Yasemin Samdereli. Brussig, Thomas. Berlin: Volk und Welt, Helden wie wir. Heroes Like Us. John Brownjohn. New York: Farrar, Straus and Giroux, Engin, Osman. Alle Dackel umsonst gebissen. Reinbek: Rowohlt, orig. Berlin: Dietz, Don Osman. Don Osman auf Tour. Satirischer Roman. Berlin: Elefanten, Briefe aus Alamanya.

Geschichten aus dem deutschen Alltag. Geschichten zum Lachen. Reinbek: Rowohlt, Don Osmans erster Fall. Neue Geschichten von Don Osman. Good Bye, Lenin! Wolfgang Becker. X-Filme, Die Harald Schmidt Show. Harald Schmidt. SAT 1, ARD, 23 Dec. Hein, Christoph. Settlement: A Novel. New York: Metropolitan, Illies, Florian. Generation Golf. Eine Inspektion. Berlin: Argon, Knorr, Peter et al. Berlin: Rowohlt, orig. Moers, Walter. Adolf — Ich bin wieder da!! Frankfurt a. Adolf — Ich bin schon wieder da!

Der Bonker. Die Wiederentdeckung des Gehens beim Wandern. Die verkauften Pflastersteine. Dresdner Tagebuch. Das Satiremagazin Eulenspiegel. Schirmer, Bernd. Schlehweins Giraffe. Seligmann, Raphael. Der Musterjude. Hildesheim: Claassen, Rubinsteins Versteigerung. Selbstverlag, Sommer vorm Balkon. Andreas Dresen. Boje Buck Produktion, Soul Kitchen. Fatih Akin. Adam Boudoukis and Moritz Bliebtreu. Sparschuh, Jens. Der Zimmerspringbrunnen. Ein Heimatroman.

Bully Herbig. TV Total. Stefan Raab. Pro 7, 8 Mar. Was guckst du?! Kaya Yanar. David Clarke. London: Continuum, Assmann, Aleida, and Ute Frevert. Geschichtsvergessenheit — Geschichtsversessenheit. Vom Umgang mit deutschen Vergangenheiten nach Stuttgart: Deutsche Verlags-Anstalt, Bakhtin, Mikhail.

Rabelais and His World. Helene Iswolsky. Bloomington: Indiana UP, Barbian, Jan-Pieter. Uli Jung. Filmgeschichte International 1. Trier: Wissenschaftler, Der deutsche Pop-Roman. Die neuen Archivisten. Baumann, Antje. Beth Linklater and Birgit Dahlke. Beigel, Frauke. Exemplarische Fallstudien zur Funktion des Komischen. Bergson, Henri.

Ed and Trans. Wylie Sypher. Le rire, Paris: Alcan, Biendarra, Anke S. Boa, Elizabeth. German Monitor Heike Bartel and Elizabeth Boa. Amsterdam: Rodopi, Bock, Carl-Heinrich. DDR-Konsumkultur in den 60er Jahren. Borowsky, Peter. Bradley, Laura. New York: Oxford UP, Brockmann, Stephen M. Budzinsky, Klaus, and Reinhard Hippen. Metzler Kabarett Lexikon. Stuttgart: Metzler, Cornils, Kerstin. Paderborn: Fink, Cosentino, Christine. Dahlke, Birgit. Autorinnen aus der DDR — inoffiziell publiziert. Degler, Frank.

Gaby Pailer et al. Degler, Frank, and Ute Paulokat.

Neue Deutsche Popliteratur. Dobler, Jens. Foell, Kristie and Jill Twark. Paul Cooke and Andrew Plowman. Houndmills, Basingstoke, England: Palgrave Macmillan, Jill Twark 21 Freud, Sigmund. Gerstenberg, Ralph. Berlin Magazin 12 Grange, William. Contributions in Drama and Theatre Studies Westport, CT and London: Greenwood, Hahne, Peter. Schluss mit lustig! Johannis, Hake, Sabine. German National Cinema. London and New York: Routledge, Hall, Peter Christian, ed.

Mainzer Tage der Fernseh-Kritik Vol. Hartinger, Walfried. Haustein, Sabine. Vom Mangel zum Massenkonsum.


  • The Dreaming Fire?
  • Pregame.
  • BOMBERS, HIJACKERS, BODY SCANNERS, AND JIHADISTS.
  • Cousin James.
  • The Dark Age of Bruce Mael (Darkness Rising Universe Book 2).
  • Thinking as a Nurse;

Herzog, Rudolph. Heil Hitler, das Schwein ist tot! Lachen unter Hitler — Komik und Humor im dritten Reich. Hill, Leonidas E. Jonathan Rose. Holzer, Daniela. Die deutsche Sitcom. Format — Konzeption — Drehbuch — Umsetzung. Bergisch Gladbach: Bastei, Naill Rudd. Gab es die DDR wirklich? Judt, Matthias, ed. DDR-Geschichte in Dokumenten. Berlin: Ch. Links, Kaplan, Louis. Kennedy, Ellie. Queens U at Kingston, Satire und Macht. Knop, Karin. Comedy in Serie. Medienwissenschaftliche Perspektiven auf ein TV-Format. Bielefeld: transcript, Kohlrausch, Martin.

Der Monarch im Skandal. Die Logik der Massenmedien und die Transformation der wilhelminischen Monarchie. Berlin: Akademie, Linklater, Beth and Birgit Dahlke, eds. Kerstin Hensel. Contemporary German Writers Series. Cardiff: U of Wales P, Lornsen, Karin. Martin, Anne, ed. Unterm Strich. Karikatur und Zensur in der DDR. Leipzig: Edition Leipzig, Marven, Lyn. Body and Narrative in Contemporary Literatures in German. Oxford, UK: Clarendon, Stuart Taberner. Hundert Jahre Kabarett. Merkel, Ina. Mielke, Christine. Die Welt 29 June Naughton, Leonie. Nause, Tanja. Niven, Bill. London: Routledge, Ossenbruegge, Julia.

Amsterdam and New York: Rodopi, Pine, B. Joseph II, and James H. Plowman, Andrew. Rentschler, Eric. Mette Hjort and Scott MacKenzie. Ergebnisse der Trendforschung. Roland Conrady and Martin Buck. New York: Springer, Rosenfeld, Gavriel D. New York: Cambridge UP, Schlant, Ernestine. Schulze, Gerhard. Die Erlebnisgesellschaft. Shaw, B. Is Hitler dead? And Best Nazi Humor. Whitefish, MT: Kessinger, orig. New York: Alcaeus House, Sich, Daniel. Aus der Staatsgegnerschaft entlassen. Staritz, Dietrich.

Geschichte der DDR. Steakley, James D. Fernando de Diego and Agatha Schwartz. Ottawa: U of Ottawa, Sutton-Smith, Brian. The Ambiguity of Play. Taberner, Stuart, ed. New York: Camden House, Taberner, Stuart, and Paul Cooke. Stuart Taberner and Paul Cooke. Twark, Jill. Berlin: de Gruyter, Weber, Max. Wichner, Ernest, and Herbert Wiesner. Zachau, Reinhard K. Banska Bystrica: Univerzita Mateja Bela, Zivier, Georg, et al. Kabarett mit K. Berlin: Berliner Wissenschafts-Verlag, At issue for eastern Germans was the sensitive negotiation between maintaining a sense of their own cultural heritage as eastern Germans and adapting to a western German mentality, a process of self-discovery complicated by the feeling that the West was colonizing the East.

Among these individuals are those who were born in Germany and have German citizenship, those who came to Germany as guest workers but remained citizens of their home countries, those who came to Germany illegally, and those who came to Germany seeking asylum.

A Companion to Twentieth-Century German Literature

Satirical humor from this immediate postwall period illuminates these divisions and rivalries, caricaturing the participants in their ongoing identity negotiations and thereby depicting an eastern German identity based on what eastern Germans should not become, as seen from the viewpoint of the caricaturists: xenophobic vigilantes, western German impersonators, and GDR historical revisionists. Stuart Hall writes that identities are constructed through, not outside difference.

His definition applies particularly well to the case of eastern Germans, whose identity remains in flux after over twenty years as Bundesdeutsche citizens of the Federal Republic of Germany. In the immediate postwall period, this group sought solace first as western Germans, then as Bundesdeutsche, then finally as eastern Germans in a unified German context. As popular cultural artifacts, their reach into German society was significant. Unofficially, the readership was far higher, as subscribers passed along their copies to friends and family.

Sometimes it seemed to abandon any pretense of critique altogether. There was an emphasis on sexual humor and an abundance of amateur photographs of nude women with a deliberately rural aura to them. In the GDR, cultural policy dictated that satirists support socialism in that they focus on the behavior of the individual, as opposed to that of the collective Neubert 7.

This reaction reaffirms the importance of context. Getting eastern and western Germans en masse into that mindset beyond a temporary relocation, however, has proved difficult. Furthermore, because unification was not kind to many eastern Germans, it compounded their overall inferiority complex. Their presence disrupted the neatness of the East-West dialogue that began with the Mauerfall fall of the Berlin Wall.

Today, German citizenship is still based on jus sanguinis, although the process of naturalization was eased somewhat with the revised German nationality law, which came into effect in the year Tes Howell 33 help re define a German national identity? This hierarchy surfaced in jokes about Ossis eastern Germans and Wessis western Germans reproduced in published collections and on countless Internet websites.

The poetry corner - Vol. 2

Der lebt auf unsere Kosten. Henri Bergson viewed such humor as a discursive weapon against breaches of propriety. There was, indeed, a strong social-corrective thrust to eastern German humor in the s, as had been the case in the GDR. All texts discussed 11 Literature in East Germany was seen by socialist leaders, as well as many authors and artists, as an unambiguous tool that should assist in building a new, socialist society. A gesture, therefore, will be its reply. Laughter must be something of this kind, a sort of social gesture.

By the fear which it inspires, it restrains eccentricity. By exaggerating the potential impact of extreme right-wing groups and their nationalistic discourse in satirical texts and cartoons, Eulenspiegel humorists took a stand against the disastrous effects of racism and fear. Tes Howell 37 Figure 1 that eastern Germans faced from a group whose members they had perceived as being the least likely to discriminate against them, particularly from a dominant position. The Vietnamese in eastern Germany, for example, maintained a reputation that they had acquired in the GDR for industriousness and dedication to their jobs Siemons They subsequently gained an advantage after over the newly unemployed eastern Germans in seeking employment in such low- paying occupations as street vending, bricklaying, textile production, and factory work.

In fact, their presence was seen as provocative in the East, a provocation that quickly turned into violence as eastern German youths in particular realized that unification had actually brought them very little. Prior to the March election in East Germany, the first and only free parliamentary election there, some pundits believed that this party would gain a strong foothold in what were to become the five new Federal States.

Up to this point, Schulz has ironically claimed to address a right-wing audience, because the Eulenspiegel is generally leftist in its approach to contemporary German politics and society. Da sind wir deutsch wie die vom Rhein,13 Dem stopfen wir das Maul voll und mausert sich ein rotes Schwein14 — Reis, das schlagen wir zu Quark! Europa — das ist hier, uns schmeckt nur deutsches Bier. The note thus serves to deflect responsibility for the content: Schulz makes an alarmist statement about the potential growth of right-wing extremists in the former GDR, while simultaneously avoiding being labeled a racist and a Republikaner sympathizer.

Two reader reactions to the song testify to a favorable reader reception, although the overall paucity of published responses to such an inflammatory piece is surprising. Mach Dir betr. Sleeping with his wife would thus be an expedient way to dishonor the Turk. Schulz still felt compelled to disclaim any connection to it.

This inflammatory song only begins to make sense satirically in connection with the cartoons flanking it on the right and bottom. The image on the right is of a boorish-looking German man, dressed in a pea coat decorated with a swastika pin, with a closely shaved head, large nose and ears, close-set, almost crossed eyes, a toothbrush moustache resembling that worn by Adolf Hitler, and beard stubble, set against the backdrop of the unified German flag. This cartoon adds another layer of meaning to the song—that REP supporters are not only violent and belligerent, but they are also unintelligent.

Below both the song and the portrait of the oafish German male is a cartoon by Paul Pribbernow depicting a diminutive man, apparently of African descent, standing with arms at his sides on a scooter being pulled quickly along a track by a rope though the pulling mechanism is not visible and wearing a modern t-shirt with palm trees on it implying his equatorial country of origin.

He looks ahead obliviously as beefy Nazis or neo-Nazis with billy clubs bolt from the gates at a racetrack resembling the kind used for greyhound races. Such uniforms were, and are still today, worn by German neo-Nazis. The cartoon powerfully blends three conceptual spaces: 1 the Nazi era the Hitler figure, Nazis, police, military jackboots, billy clubs, circa ; 2 late twentieth-century xenophobic violence in Germany neo-Nazis, shaved heads, military jackboots, African male victim, circa ; and 3 the greyhound racetrack racetrack gates, bait animal, gate operator, greyhound dogs.

The skinheads likely represent eastern German youth and its growing xenophobic tendencies, tendencies that are, ultimately, residues of fascism. In the fictional world of the caricature, Hitler is still pulling the strings— even from the grave. The overarching goal of this Eulenspiegel page is to expose right-wing extremists as primitive bullies, as well as to condemn the prevalent racism and its destructive potential in eastern Germany in particular and Germany in general. Taken out of context, however, especially in the case of the song, the reader may be left to wonder how each text qualifies as satire as a letter writer named G.

Only taken together can the reader understand each text as satirical commentary on contemporary German society, intended to ridicule and correct the xenophobic tendencies that right-wing extremists fostered among some eastern Germans, youths in particular.

The cartoon illuminates a hybrid space for new, postwall German counter-narratives, which defied harmonious governmental and media representations of the unification process in both East and West. However, in the s, Turkish youth co-opted it, using it to denote not only a cultural, but also a discursive, community, as a sociolect particular to the Turks residing in Germany Zaimoglu Thus begins his journey through a Kafkaesque labyrinth of bureaucracy, during which he loses his job and, debatably, his sanity.

A modern-day fool, Engin is continually a victim of his circumstances and cannot navigate the system well enough to vindicate himself. Engin grants the reader access to the experience of living with this threat. Engin and Leckmikowski are thus competitors in a truly capitalistic endeavor. But Yusuf refuses to play this game, for money talks in post- unification Germany and can alter the parameters and rules of any given community. Auf dem Gebiet kenne ich mich bestens aus. Ich habe genug Philippinos aus der DDR rausgejagt! Satire dient dazu, auf Punkte zu zeigen, die nicht richtig sind, die menschenfeindlich oder menschenverachtend sind.

Satire selbst kann den Zustand ja nicht verbessern. Conclusion After the dynamic transformations of the Wende period and the unification process caused great uncertainty for eastern Germans, unleashing long-simmering resentments, anxieties, and rivalries. Humorists used this volatile time to reflect on existential questions and the potential for correction of uncivil behaviors, prompted, among other causes, by xenophobia, because, although eastern and western Germans had their difficulties reuniting, they always recognized each other as fellow Germans.

Tes Howell 51 German affairs and who never had a chance to achieve political representation in the GDR, were forced to compete with East Germans for recognition as equal citizens in the new bundesdeutsche reality. By presenting humorous texts with such sharp commentary on contemporary culture, humorists were able to draw attention to these failures and successes, ultimately aiding in the discursive creation of an eastern and unified German identity that was more tenable, through its rectitude and complexity, than what grew organically out of the unification process.

Onlein und in Farbe. Krause, Bernd. Eulenspiegel 29 : 2. Pribbernow, Paul. Schulz, Volker. Seidler, G. Eulenspiegel 25 : 2. Swienty, Dietmar. Eulenspiegel 28 : 2. Secondary Sources Ayim, May. Heimat und Einheit aus afro-deutscher Perspektive. Berlin: Orlanda Frauenverlag, Laughter: An Essay on the Meaning of the Comic. Cloudesley Brereton and Fred Rothwell.

London: MacMillan and Green Integer, orig. Bhabha, Homi K. Homi K. Blackbourn, David. Oxford: Oxford UP, Cooke, Paul. Oxford: Berg, Epitroupolis, Mike-Frank G. American Culture in Europe: Interdisciplinary Perspectives. Westport, CT: Praeger, Germany in Transit: Nation and Migration, A Sourcebook. Berkeley: U of California P, Gregson, Ian. Character and Satire in Postwar Fiction.

NY: Continuum, Grub, Frank Thomas. Ein Handbuch. Hall, Stuart. Stuart Hall and Paul du Gay. London: Sage, Hensel, Jana. Hamburg: Rowohlt, Hermenau, Antje. U of California-Berkeley, Tes Howell 53 Jaschke, Hans-Gerd. Bonn: Dietz, Jung, Peter. Verordneter Humor. DDR Berlin: Edition Hentrich, Klein, Olaf Georg. Warum Ost- und Westdeutsche aneinander vorbeireden. Kress, Gunther, and Theo van Leeuwen. Anderssein gab es nicht. Kuck, Dennis. Tes Howell. Kulish, Nicholas. Leue, Gunnar. Neubert, Werner.

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Die Wandlung des Juvenal. Satire zwischen gestern und morgen. Rosbach, Jens. Deutschlandradio Kultur 28 May Siemons, Mark. Slackman, Michael. Soldan, Angelika. Steinlein, Christina. Berlin: Eulenspiegel, Yesilada, Karin. Zaimoglu, Feridun. Kanak Sprak. Hamburg: Rotbuch, Go for Zucker, , Swiss director Dani Levy, who has been living in Berlin for decades, broke one of the longest-standing taboos of post German cinema: using the comedy genre to grapple with questions of Jewish identity in Germany and specifically the Berlin Republic.

It is presumed that if a Jewish director spins a humorous story around Jewish characters, Jewish humor must be in play. The purpose of this chapter is first to outline several characteristics attributed to Jewish humor in traditional and more recent scholarship. These features will then serve as a framework for exploring the wit that pervades Alles auf Zucker! Both in terms of content and technique, Alles auf Zucker! Establishing the type of humorous lens through which these relations are screened is critical, not only because it aids in understanding the mostly favorable reception this unlikely comedy has enjoyed in twenty-first century Germany and around the world,5 but also because it offers insights into the status of German-Jewish relations and Jewish life in Germany today from the perspective of this minority group.

He owes money to many lenders, has troubled relationships with his wife and children, and is in danger of gambling his way into homelessness. In fact, it took Levy over three years to secure financing for the film Biehl. After initially rejecting the script, the German broadcasting company Westdeutscher Rundfunk WDR finally decided to take on the project in Alles auf Zucker!

Can the Shoah Be Funny? Some Thoughts on Recent and Older Films. If the brothers cannot reconcile, the money will be donated to the Jewish community in Berlin. As mentioned above, much like humor in general, Jewish humor had until recently been the subject of many anthologies but only limited scholarly debate. Even after few instances of Jewish humor can be found there. Broder, and the author Esther Dischereit. With the fall of the Berlin Wall and the vast immigration of Russian Jews to Germany in the s, however, Jewish artists, intellectuals, and authors are beginning to gain a more prominent voice in Germany, above all in its capital, Berlin.

The past two decades have been a period in which eastern and western Germans have had to negotiate their coexistence and reunification. In addition, Germans from the former East and West have had to adjust to an increase in minority residents and citizens, including Jews, whose population has grown from 10,, in to an estimated , today Knobloch. The reemergence of Jewish humor not only informs us about the status of these renegotiations, but it can also help set the tone for future efforts to establish a more normalized coexistence marked by mutual tolerance and respect.

It is also worth noting that the remarkable influx of the nineties has stalled since Germany limited the immigration of Russian Jews with the Immigration Act of Taberner traces the history of the term back to the Kohl era and highlights its particular importance for unified Germany. It includes the idea that because Germany continues to express remorse regarding its World War II and Holocaust crimes, it should be allowed to move beyond these admissions of guilt and to establish itself as a democratic, liberal, and tolerant nation.

Particularly the dialectical workings of Jewish humor allow Alles auf Zucker! In most discussions of Jewish humor, only one side of it is highlighted: its self-deprecating nature. Others, such as Edmund Bergler, Martin Grotjahn, and George Mikes, have supported the thesis that Jewish humor has a distinctly self-mocking and self-derogatory character, in which hostility or aggressiveness manifests itself in a masochistic way—that is, it is turned against the Jew himself. Another critical characteristic of Jewish humor, however—the other side of the coin, really—is overlooked by these and other scholars.

There are numerous instances in which Alles auf Zucker! The strict rules to which he subjects himself and his family as well during the shiva provide him with the stability and security that he lost when his relationship with his girlfriend and cousin Jana ended ten years ago. While Levy criticizes the fact that Joshua does not really lead a Jewish life, but rather uses his faith to escape from it, the film also shows the motivation for this move, which in turn evokes understanding and empathy with the character and his plight. Along with this critique-cum-sympathy dynamic particular to Jewish humor, most scholars also mention the main topics and stock characters employed regularly in Jewish jokes.

Jewish humor traditionally targets backwardness, intolerance, greed, and hypocrisy Richter All family members, in fact, join in the hypocrisy of pretending to live an orthodox Jewish life and to observe the rules of the shiva. His irate reaction to the traffic holdup is followed by a lightning flash— presumably a sign from above—and prayers from Joshua.

On another occasion, when the two families say a prayer before dinner together, Joshua continues to pray after everyone else has stopped. In addition, Alles auf Zucker! While these stock personalities appear throughout the film, the most interesting character is the protagonist, Jackie Zucker, from whose perspective the story is told. Jackie belongs to the tradition of one of the central and most constant characters in Jewish comedy: the schlemiel.

One might even venture to say that he emerges as a hero of sorts, one whose persona evinces the aforementioned critical dynamics of Jewish humor. We must thus now turn our attention to this typical Jewish prankster. In the context of complex eastern and western German and German-Jewish relations, which are often framed in terms of loser-victor and victim-perpetrator dynamics, this dialectical schlemiel protagonist becomes particularly intriguing and holds critical meaning for the understanding of this film.

How, then, does Levy paint Jackie Zucker as a schlemiel, and what implications do these schlemiel qualities have for his cinematic production? On several occasions in Alles auf Zucker! Later, while high on Ecstasy pills mistaken for aspirin, he admits again to being an idiot for having turned his back on his daughter Jana when she became pregnant and could no longer compete in athletics championships. Jackie thus emerges as a prime example of the fool, whose weaknesses give cause for laughter. Choosing to stay out late, gamble, and squander the family savings, he does not think about the effects his actions will have on his family.

It is important to note, however, that he was born Jewish and ultimately returns to the Jewish faith at the end of the film. It is also fitting that—just like the eastern German Jackie Zucker—the schlemiel is often thought of as a character from the East Patai viii. In fact, it can be argued that his rediscovered faith may be more genuine because it is born out of sincere internal and external struggles, rather than blind acceptance of religious and cultural traditions. Eventually, his foolishness and lies lead to his undoing, exemplified by his physical collapse, which occurs precisely at the moment in which his deceptions are about to be revealed by his wife Marlene.

Conversely, when he finally begins to open up and communicate, not just with his wife and children, but also with his brother and his extended family, his health begins to improve as well. Only after Jackie undergoes this transformation can his brother Samuel respond by expressing his understanding and willingness to help. A corresponding healing between eastern and western Germany, Levy implies in the film, will require similar efforts in opening channels of communication, recognition, and acceptance.

This organ typically refers as much to the emotional and spiritual as to the moral core of a human being. Like his forbears, Jackie, too, has a heart condition. Hast du noch eins? German and Jewish-German relations, Levy indicates that similar open conversations about the past are needed. If the Zucker mann family embodies the tension of German-German and German-Jewish relations, then the vision put forward by Levy is one of a normalized and peaceful coexistence, marked by tolerance and understanding.

But this, Levy contends, can only be achieved if all foolishness—political agendas, personal grudges, and mistrust—is set aside and all players embark on this process with honesty, forbearance, and an open mind. Just as the schlemiel Jackie reintegrates into his family, his religious community, and society as a whole by shedding his folly, so, too, can the different factions that make up a twenty-first century unified Germany also work to integrate into a society in which all constituents can flourish and have a voice.

Not only individual character traits, but also narrative perspectives are important in schlemiel fiction. One way the reader of schlemiel fiction gets to know the protagonist and his worldview is by experiencing him telling the story in his own voice. The reader, of course, is well aware of the conflicting nature of the versions told by the author and the schlemiel. Film is a medium that is especially well-suited to presenting simultaneous, conflicting textual and visual narration of a single event.

In Alles auf Zucker! Levy gives a voice to the schlemiel Jackie at the beginning and end of the film through nondiegetic commentary. This cinematic technique allows the events narrated visually by the camera to appear quite different from the way Jackie sees them and, thus, illustrates how he interprets his reality. Though Jackie seems to be on the losing side of every conflict during the greater part of the film, it would be amiss to interpret him as a victim of historical and personal circumstances.

In fact, Levy distinctly rejects the victim role for his character by treating it humorously in his film. By letting Jackie put on the victim hat whenever it serves him, Levy demonstrates the degree to which this role has become associated with the Jewish persona. He also shows, however, that Jewish identity comprises more dimensions than such narrow casting evokes, which is one of the main reasons this comedy has enjoyed such strong support from the Jewish community in Germany. Multi-dimensional in his own right, Jackie is portrayed as a cunning, yet also naive, weak, and dreamy man, characteristic for the schlemiel figure Wisse 53, Sure enough, he cons his pool partners and lies to everyone in his family, but he does so in order to clear his debts, not out of greed.

In fact, he proves his innate good-heartedness by displaying generosity toward others. To Jackie, these surroundings not only include the conformist society of socialism, but also his new capitalist reality. In contrast, Jackie stands out as someone whose actions are not dictated by considerations of economic or social status, but who genuinely cares about other people.

Thus, his weaknesses—gambling and cheating—are intimately tied to his strengths: his heart, care for others, and willingness to get himself into trouble to help those in need. This dialectic—weakness turning into strength upon close examination—is one of the most important features of the schlemiel Wisse In fact, as is the case with Jackie, once this weakness—his inclination to help others even if by questionable means—is no longer ridiculed, but recognized as a strength, it reflects badly not on the schlemiel, but rather on those who mock him, turning the erstwhile loser into a moral victor.

Thus, while the schlemiel exemplifies those negative qualities of weakness that must be exposed and ridiculed to be overcome, schlemiel fiction also sets up inversions by producing a balanced type of humor that cuts simultaneously into the character and into those who belittle him Wisse At first, they appear to be the perfect counter-image to the eastern German loser Jackie and his clan. With his mother, wife, and two children, he led the life of an orthodox Jew, as both Jackie and Rabbi Ginsberg acknowledge.

He gained status, as his doctoral title suggests, and considerable wealth. Speculation, of course, has much in common with its low-brow cousin, gambling, which Jackie enjoys. Speculation typically involves the lending of money or the purchase of assets, equity or debt but in a manner that has not been given thorough analysis or is deemed to have a low margin of safety or a significant risk of the loss of the principal investment.

The kind of activity in which Samuel Zuckermann engaged thus had little to do with respectable financial investing, but rather with imprudent risk-taking in hopes of receiving quick profits. Not only do the two brothers share the weakness of indulging in speculation or gambling, but their families are also similarly dysfunctional.

Even Samuel and his wife Golda turn out to be less orthodox when it comes to financial matters. It does not take long for them to discover that the Zucker household does not adhere to Jewish customs. The latter, of course, is not easily fooled and eventually admits that he has knowingly ignored the breaking of shiva law as long as he could pretend not to be in the know. He is aware that sitting shiva and having a conciliatory talk with his brother will require putting forth the pretense of following Jewish customs and concealing his assimilation to gentile culture, as well as his true persona.

The film gradually reveals the fact that life in western Germany is not as grand as Samuel makes it out to be. In effect, Jackie gains moral superiority over his brother by refusing to pretend to be better than he actually is and by simply accepting his status as an unlucky trickster. Presenting the dynamic of East-West relations in Germany in the framework of a schlemiel story whose plot develops as a family feud offers a new perspective on this cultural conflict. In this dynamic, western Germany is often seen as the strong, intact, and dominant force, while eastern Germans are mostly regarded as inept or naive.

The schlemiel Jackie gives voice to the latter perspective, while simultaneously turning this dynamic on its head. According to Wisse, this represents the essence of the schlemiel dialectic: In fashioning the schlemiel, the Jew admits how weak and foolish he appears to those who dominate him […]. Yet […] he does not submit to self-hatred, and stands proudly on his own record. After all, so goes the inevitable dialectic, he survives.

And after all, is he as foolish as he seems? And above all, who are they to judge him? At its best, the finished irony holds both the contempt of the strong for the weak and the contempt of the weak for the strong, with the latter winning the upper hand. By presenting the schlemiel as an eastern German Jew, Levy engages a potent technique of Jewish humor: he suspends the typical winner-loser dichotomy and instead promotes the notion that the winner is not necessarily he who gains the upper hand politically or economically, but rather he who admits to and accepts his weaknesses, remains true to himself, and demonstrates generosity and tolerance toward others.

Such a definition of winner status opens the door to anyone, regardless of ethnic belonging, or geographical or historical heritage, and is based solely on modes of behavior. Levy proposes, is up to the individual, each of whom possesses a free will to alter his fate.