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Franz A. Birgel

Characterized by Siegfried Kracauer as "the first and last German film that overtly expressed a Communist viewpoint," Kuhle Wampe (1932) is also noteworthy for being the only film on which Bertolt Brecht collaborated from beginning to end, as well as for its controversial censorship in the tumultuous political context of the late Weimar Republic. When set against the background of the 1920 Motion Picture Law and the censorship of two other high-profile films—Sergei Eisenstein's Battleship Potemkin and Lewis Milestone's All Quiet on the Western Front—the political history of Kuhle Wampe highlights the indecisiveness, fragility, and fears of the German Left as the Nazis prepared to take power.

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Actualising History

Responsibilities with Regard to the Future in Arthur Miller's The Crucible

Aamir Aziz and Frans Willem Korsten

Bertolt Brecht's ideas about the powers of theatre are an aesthetic and political elaboration of Marx's views about the role of philosophy, which famously was that philosophy should not reflect on the nature of reality but intervene in it. 1 This

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Willi Bolle

Die für Bertolt Brechts Stück Mahagonny (1929) zentrale Metapher der "Netzestadt" soll hier dazu verwendet werden, den Kompositionsstil von Walter Benjamins Passagen-Projekt (1927-1940) im Sinne einer netzhaften Essayistik zu erklären. Dieser methodologische Transfer ist nicht kausalgenetisch begründet (dass etwa Benjamins Schreibweise von Brecht beeinflusst worden wäre), sondern er beruht auf einer ästhetischen Wahlverwandtschaft. Mit der Metapher des netzhaften Schreibens läßt sich die von Benjamin entwickelte wissenschaftliche Großstadt-Essayistik besonders treffend charakterisieren.

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T. J. Lustig, Anna Tripp, George Wotton, Brenda McKay, Mary Joannou, Nilli Diengott, Helen Boak, David C. Green, Sue Dymoke, Matt Simpson, Adam Rounce, Loraine Fletcher, Shorsha Sullivan, and Andy Croft

Russell Reising, Loose Ends: Closure and Crisis in the American Social Text (Durham, North Carolina: Duke University Press, 1996), £52.50 cloth, £16.95 paperback, ISBN 0-8223-1891-1.

Linda Simon, Gertrude Stein Remembered (Lincoln & London: University of Nebraska Press, 1994; UK Publication date: October 1997), £13.95, ISBN 0-8032-9248-1 (PB).

Bertolt Brecht, War Primer, translated and edited with an afterword and notes by John Willett, Libris Press, 1998, £35 hardback, ISBN 1-870352-21-1.

Alison Byerly, Realism, Representation, and the Arts in Nineteenth- Century Literature, Cambridge, New York and Oxford: Cambridge University Press, 1997, £35 hardback, ISBN 05-21-581168.

Jenny Hartley, Millions Like Us: British Women’s Fiction of the Second World War, London: Virago, 1997, £14.99 paperback, ISBN 1-86049-080-8.

Gill Plain, Women’s Fiction of the Second World War: Gender, Power and Resistance, Edinburgh: Edinburgh University Press, 1996, £14.99 paperback, ISBN 0 7486 0661 0.

Joseph Carroll, Evolution and Literary Theory, University of Missouri Press, 1995, ISBN 0 8262 0979 3.

Dagmar C.G. Lorenz, Keepers of the Motherland, Lincoln and London: University of Nebraska Press, 1997, pp. xxii + 402, £52.50, ISBN 0-8032-2917-8.

Howard Barker: Arguments For A Theatre (Third Edition), ISBN 0-7190-5249-1, paperback.

Jean ‘Binta’ Breeze, On the Edge of an Island, 1997, Bloodaxe, ISBN: 1-85224-405-4.

Gillian Ferguson, Air for Sleeping Fish, 1997, Bloodaxe, ISBN:1-85224-416-X.

Katie Donovan, Entering the Mare, 1997, Bloodaxe, ISBN:1-85224-429-1.

John Kinsella, The Hunt & Other Poems, Bloodaxe Books, £7.95, ISBN 1-85224-441-0

David Duncombe, Pencilling In, Redbeck Press, 1997, £3.95, ISBN 0-946980-42-X.

Hugh Dunkerley, Walking to the Fire Tower Redbeck Press, 1997, £3.95, ISBN 0-946980-44-6, £3.95.

Martin Edwards, Coconut Heart Redbeck Press, 1997, £3.95, ISBN 0-946980-45-4, £3.95

Anne Rouse, Timing, Bloodaxe Books, 1997

Ruth Fainlight, Sugar Paper Blue, Bloodaxe Books, 1997

Jane Holland, The Brief History of a Disreputable Woman, Bloodaxe Books, 1997

Philip Ramp, Jonz, Translated by Lydia Stephanou, Athens, 1997, Bilingual Edition.

Glyn Wright, Shindig, Bloodaxe, £6.95, ISBN 1-85224-409-7.

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Books , 2016 ) 10.2307/j.ctvr6964f Taylor , Derek Chief Rabbi Hertz : The Wars of the Lord ( Vallentine Mitchell , 2014 ) Young , Augustus : The Invalidity of All Guarantees: A Conversation between Bertolt Brecht and Walter Benjamin (1934

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Rabbi Jeffrey Newman

vision of small blue vans, marked with a white Magen David criss-crossing Europe bringing spiritual aid, probably in the form of jokes and laughter, to troubled populations. In this, he may well have been inspired by Bertolt Brecht, who wrote that ‘the

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Safi Mahmoud Mahfouz

exploitation and oppression; Bastos cites Bertolt Brecht’s version of Coriolanus (1951) as an adaptation in which the title character is portrayed as a proto-fascist leader. De Benedictis argues that Benito Mussolini, the leader of the National Fascist

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Berlin 1927

Intersections with Albert Friedlander

Susanne Kord

directly to popular support for the brothers’ escapades. Everyone knows Bertolt Brecht's famous accusation of society's real crooks in The Threepenny Opera (first performed the year after Friedlander's birth): as Mac the Knife muses on the relative scale

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Conflicted Power of the Pen

The Impact of French Internment on the Pacifist Convictions and Literary Imagination of Lion Feuchtwanger

Nicole Dombrowski Risser

critics’ conclusions undermined the urgency of Feuchtwanger’s message. Despite a conscious effort to move closer toward Bertolt Brecht’s heavy-handed didacticism, which Feuchtwanger had impugned in the 1920s, Feuchtwanger’s message did not reach his

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Jean-Paul Sartre

The Russian Teatr Interviews of 1956 and 1962

Dennis A. Gilbert and Diana L. Burgin

dramatists who write for and speak to the working class; 3) Foreign influences on French theater, in particular the plays of Bertolt Brecht and Anton Chekhov. A few months after the publication of this first Russian interview in early 1956, Sartre