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A ten-volume edition of his writings appeared in he received the Goethe medal in the same year. Blunck was pronounced a Nazi sympathizer and collaborator by the Denazification Tribunal in he insisted that the verdict was unjust. The Gesammelte Werke in Einzelausgaben fifteen vols appeared from to ; Dramen und Lustspiele two vols , also in ; Das Gesamtwerk four vols between and Bobrowski, Johannes —65 Bobrowski was born in Tilsit and grew up in Memel, and all his poetry and much of his prose result from the effort to reconstruct through memory the landscape and childhood experiences of this frontier area, in which Poles, Lithuanians, Russians and Jews had lived in close proximity for generations.
Bobrowski was both conservative in his debt to poets such as Klopstock mainly ignored in the twentieth century and, in the context of GDR writing, in his Christian commitment, and modernist in his development of free verse and of a fragmentary prose form which allows several voices and perspectives to emerge.
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Along with Peter Huchel he is a master of the humanized landscape. Despite his circumscribed themes his influence is present in the work of several writers, incl. Bobrowski wrote his earliest poems as a soldier in Russia, some of which appeared in the periodical Das innere Reich before the end of the war, but the majority of his poems can be dated to the years — The award in the latter year of the prize of Gruppe 47 after his second reading before the group and the publication of his first collection Sarmatische Zeit made him known in the West.
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- La porta dellinferno (Le indagini del sergente McRae Vol. 3) (Italian Edition).
Ganz neue Xenien , the last a series of satirical epigrams on figures in the contemporary German literary landscape. Haufe, appeared from The attitudes which find consistent expression in both his fiction and his public writings e. All present the senselessness of war by adopting the perspective of the ordinary soldier whose only escape from the horrors of combat, the total subordination to his superiors and the souldestroying boredom of military routine is the memory or fantasy of private happiness.
In Und sagte kein einziges Wort the predicament of the soldier come home, forced by inadequate housing to meet his wife in hotel rooms, is exacerbated by the unsympathetic attitude of the better off and contrasted with ecclesiastical pomp and tasteless advertising. Their accounts, in throwing light on the separate stages of her biography, add up to a panorama of the period to , placing Gruppenbild firmly in the tradition of the Zeitroman. Acts of terrorism by the Rote Armee Faktion better known as the Baader-Meinhof group forced the authorities in the Federal Republic to mobilize state power to an extent unprecedented in its history in order to arrest, try and convict them.
While the anti-terrorist campaign undoubtedly had the support of public A companion to twentieth-century german literature 36 opinion, it occasionally led to excesses which undermined rights guaranteed by the constitution as those suspected of sympathizing with or sheltering terrorists were subjected to police surveillance and vilified by sections of the press. For all his faults, parochialism, sentimentality, black-and-white characterization, he demonstrated that the novel is still able to show how people relate to one another as members of a family, a community and a nation.
A collected edition, Werke, in ten volumes, appeared in Bonsels, Waldemar — Traveller, publisher and writer of popular novels and stories, Bonsels made his reputation with Die Biene Maja und ihre Abenteuer , a charming account of a queen bee and the adventures that befall it. A year before his death he republished, under the title Das vergessene Licht, an earlier pseudo-Christian novel. Borchardt, Rudolf — An author remembered for his essays and translations, Borchardt was one of a group of writers R.
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The neo-romantic aspects of his earlier poetry Jugendgedichte increasingly gave way to classical forms. Borchardt was an accomplished linguist and translated from Greek, English and Italian: his Dante Deutsch —30 is an acknowledged masterpiece. Borchardt was a close associate of Hugo von Hofmannsthal. Vermischte Gedichte appeared in The novel Vereinigung durch den Feind hindurch was published in Vienna: the title refers to an essay on military tactics. Borchardt, who was partly Jewish, was arrested by the Gestapo, but later released; he died in the Tyrol at the end of the war.
He also wrote numerous poems, only a few of which were eventually published. Die traurigen Geranien made available further unpublished material. His first novel Der zweite Tag , in which the impressions received on a train journey are registered in minute detail, bare of symbol and metaphor, can be associated with the Cologne school of realism including Wellershoff, Herburger, Elsner. The poems, eventually collected in Gedichte — , show the influence of the Americans W.
Politics, reflection on the function of poetry and moments of satisfaction and hope contrasted with fear of the impersonal forces of the state are further topics in the later poems. In taking up a Third World theme, it marks a significant departure from what was in danger of becoming a new provincialism and can be compared with similar works by Uwe Timm and F.
https://lor24.com.ua/themes/mugshots/4746-znakomstva-ulyanovsk.php The play Rotter concerns the self-imposed conformity of an underprivileged figure determined to prove himself in both the Third Reich and the early years of reconstruction. Liebe macht Tod is a variation of Romeo and Juliet. Braun, Felix — A fervent literary disciple of Hofmannsthal, Felix Braun was a minor writer associated with the Viennese cultural scene at the turn of the century his autobiography Das Licht der Welt. Geschichte eines Versuches, als Dichter zu leben gives a sympathetic and informative account of meetings with Hofmannsthal, Rilke, Wildgans, Ginzkey, Mell, Stefan Zweig, Werfel and others.
He travelled widely, living in Italy and also in exile in England. His verse dramas betray much sensitivity but little dramatic talent: themes are derived from classical antiquity Tantalos , Aktaion and Der Tod des Aischylos and from the history of the house of Habsburg Kaiser Karl V and Rudolf der Stifter. The collections Wir und nicht sie , Gedichte , extended and Gegen die symmetrische Welt are marked by mastery of numerous short forms and a critical dialogue with earlier German poets.
The dialectic of past and present, of Utopian hope and reality is treated in manifold variations, culminating in the last volume in fragmentary forms which appear to reflect a fear of stagnation.
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Bodenloser Satz presents the decline of the GDR through an account of environmental pollution. Texte in zeitlicher Folge appeared in eight volumes between and Brecht, Bertolt — Brecht was one of a group of young dramatists who emerged during the early years of the Weimar Republic and whose works frequently awarded the Kleist prize created theatrical scandals by their fearless outspokenness and reluctance to conform to accepted standards.
Through collaboration with Feuchtwanger and others Brecht, with cunning and undeniable talent, kept abreast of the modern techniques of a man like Piscator.
It was after the enormous success of this work, a work that the audience seemed bent on enjoying at all costs, that Brecht tended to the extremes of dogmatism which he felt were necessary to convey his social message: the need for a new society, free from exploitation and privilege. What makes Mann ist Mann , the Dreigroschenoper and Aufstieg und Fall der Stadt Mahagonny — 9 such good entertainment is the plenitude of ebullient characters, rooted in a fantastic Victorian, Anglo-American or Anglo-Indian world never found in reality but culled from the legends of the roaring twenties, or the heyday of the British Raj; Brecht never ceased to admire the world of boxers, lumberjacks, colonial soldiers and gangsters, which he may, in part, have derived from the expressionist cult of vital, atavistic forces.
Brecht needed also the stimulus of collaboration, which stemmed from a sincere desire to discuss and learn rather than from paucity of invention, as the critic Alfred Kerr claimed, who sought constantly to detect plagiarism. Brecht wrote closely with Klabund, who would later give Brecht the idea for Der kaukasische Kreidekreis. After the burning of the Reichstag Brecht fled to Vienna; he attended the meeting at Sanary-sur-mer of exiled writers, and thence moved to Denmark, to the province of Svendborg, where he watched events in Germany most closely.
A-Z 43 The view that Brecht, deprived of a theatre, turned his attention to formulating a Marxist aesthetic of drama, a theoretically determined system, is erroneous: the subsequent theorizing was an attempt to explain to himself as well as to others how it happened that this or that particular work had been written and produced in a particular way. His theoretical writings reflect the way in which he meditated upon his own work: there is nothing rigid nor inflexibly ideological about his speculation.
The tone is light, frequently wryly humorous, often curious, but always allowing for movement and renewal; a rare intelligence is at work which questions, worries, retreats, adapts and restates. The Messingkauf dialogues, a four-handed conversation piece, relate more directly to theatrical problems, and stress above all the need for lightness of touch, Spiel, and a kind of elegance in acting which contains sobriety within it.
The rapier thrust is preferred to the sabre blow, the elliptical precision of Chinese art to Germanic ponderousness and an athletic form of acting to the pretentiously histrionic. This was to be the play with which the Berliner Ensemble opened in ; it has remained in the repertoire ever since and has been staged by the leading theatres throughout the world.
Every scene, and there are twelve of them, is supposed to stand as a self-contained unit indeed, in theory they should be virtually interchangeable , but a cumulative effect is undeniable, and there are moments that are conventionally dramatic, which enthral, rather than alienate, the audience. Brecht did not approve of the reactions of the audience after the first performance: in notes to the play he added certain modifications which were intended to emphasize the more negative qualities of the central character.
He had been forced, he A companion to twentieth-century german literature 44 claimed, to overstate the differences between the conventional theatre and his own in order that certain abuses be rectified: there was nothing sacrosanct or dogmatic about his suggestions.