German
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German Moonlight: H?xter and Corvey ; At the Sign of the Wild Man
This volume assembles English translations of three of Wilhelm Raabe's most intriguing narratives. Raabe (1831-1910) was one of the most complex and multi-layered German writers of the second half of the nineteenth century. The three pieces published here for the first time in English are: 'German Moonlight', a tongue-in-cheek study of lunacy and split personality as a quintessentially German condition; 'H?xter and Corvey', an unsettling reconstruction of civil unrest and anti-Jewish violence in the seventeenth century which advocates tolerance and sobriety in troubled times; and At the Sign of The Wild Man, an inverted genre piece in which a rural idyll is devastated by an agent of global capitalism. All three narratives, written during the first half of the 1870s, contain stinging criticism of the mentality of complacency so prevalent in the newly-founded German Empire; but they also offer moving stories of personal crisis, quiet heroism and noble resignation.
Gudrun (1906)
This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.
Guitars That Are Not Called Gudrun
On 26 February 2003 Martin Kippenberger would have turned fifty. In commemoration of his birthday, the gallerist Max Hetzler has dedicated a book to him. "Gitarren, die nicht Gudrun hei?en" rekindles our memories of an enfant terrible of the art world and explores the oeuvre of this outstanding artist, who died six years ago. Artists, critics, art historians and authors have written a series of highly personal testimonies to Martin Kippenberger, who was a friend, a role model and a source of irritation all in one. Albert Oehlen tells of the intense artistic debate that began at the Hamburg Art Academy in the late 1970s and persisted even after both artists had moved off in different stylistic directions. Peter Pakesch recalls his encounter in the 1980s with Kippenberger the "utopian campaigner", and explains how the artist was driven by his boundless desire to grapple with the world, with whatever company he was keeping, and above all with art. As the artist's former assistant, Merlin Carpenter describes the "Kippenberger system" through which all manner of alien ideas and creativity were constantly ploughed into Kippenberger's artistic production. Stephan Schmidt-Wulffen examines how public discourse forged the identity of this artist, who declared that role-playing and strategy were crucial components of his perception of art. For his part, Martin Prinzhorn wonders what place should be given to a body of art that has become so indistinguishable from the persona of the artist, but which at the same time appears almost to vanish inside the most diverse artistic identities. Elusive but omnipresent, Martin Kippenberger appears to his friend Mayo Thompson in a dream as a restless spirit who, as Werner Buttner says, couldn't even have resisted mocking his own funeral-"He would have turned that into art, too". Or, to use Rainald Goetz's words: "Ego-apotheosis: whoosh and away." Martin Kippenberger's vivid presence in the thoughts and writings of his friends is matched by the forceful presence of his work throughout this publication. Pictures, invitation cards, catalogues, snapshots-the book's design compounds this path through the labyrinth of his artistic output and lends Martin Kippenberger physical and visual presence on every page.
Hans Huckebein – Abenteuer Des Unheil Stiftenden Ungl?cksraben (Illustrierte Ausgabe)
Diese Bildergeschichte erz?hlt in Reimform von dem ungl?ckseligen b?sen Raben, genannt Hans Huckebein. Der Knabe Fritz findet im Wald einen jungen Raben und will ihn unbedingt mit nach Hause nehmen. Mit List und T?cke f?ngt er das ver?ngstigte Tier ein und bringt es nach Hause zu seiner Tante. Die wird sofort entt?uscht - der Rabe entpuppt sich nicht als ein niedliches Tierchen, sondern bei?t sie erstmal heftig. Anschlie?end bringt er den Haushalt der Tante durcheinander: Er klaut dem Spitz einen Schinkenknochen, woraufhin unter den Tieren ein heftiger Streit entsteht, in den auch der Kater verwickelt wird. Da der Rabe gewitzt ist, trickst er die beiden aus und siegt. Nun ist er nicht mehr zu bremsen.... Wilhelm Busch (1832-1908) war einer der einflussreichsten humoristischen Dichter und Zeichner Deutschlands. Zu seinem Todeszeitpunkt galt er als ein "Klassiker des deutschen Humors", der mit seinen satirischen Bildergeschichten eine gro?e Volkst?mlichkeit erreichte. Er gilt heute als einer der Pioniere des Comics. Zu seinen bekanntesten Werken z?hlen die Bildergeschichten Max und Moritz, Die fromme Helene, Plisch und Plum, Hans Huckebein, der Ungl?cksrabe und die Knopp-Trilogie.
Hauptmann: Bahnw?rter Thiel
"Bahnw?rter Thiel" (1988), by far the best story ever written by Gerhart Hauptmann, follows the principles of the Naturalist movement in its detailed study of the life and milieu of a humble and apparently unexceptional Prussian railwayman. Yet in its exploitation of symbolism, of techniques sometimes close to Impressionism, and in its subtle use of a changing narrative perspective, this Novelle goes beyond the essentially 'scientific' Naturalist approach: Hauptmann thus succeeds in exploring the complex interaction of suppressed social, psychological, physiological, and religious impulses far better than in any other work of this era.This new edition has been prepared withthe changing needs of the today's learners and students of German inmind. The late S.D. Stirk's scholarly edition of 1952, which alsoincluded "Fasching", has seen sterling service, and we aregreatly indebted to it. However, by concentrating on just one story, wehave been able to offer more linguistic help in the notes andvocabulary, as well as devoting considerably more space in theintroduction to detailed comments on characterisation and technique.References to other works and to other periods of Hauptmann's longcareer as a writer have been kept to a minimum.
Henry of Ofterdingen
The patents had already retired to rest; the old clock ticked monotonously from the wall; the windows rattled with the whistling wind, and the chamber was dimly lighted by the flickering glimmer of the moon. The young man lay restless on his bed, thinking of the stranger and his tales. "It is not the treasures," said he to himself, "that have awakened in me such unutterable longings. Far from me is all avarice; but I long to behold the blue flower. It is constantly in my mind, and I can think and compose of nothing else. I have never been in such a mood. It seems as if I had hitherto been dreaming, or slumbering into another world; for in the world, in which hitherto I have lived, who would trouble himself about a flower?,I never have heard of such a strange passion for a flower here. I wonder, too, whence the stranger comes? None of our people have ever seen his like; still I know not why I should be so fascinated by his conversation. Others have listened to it, but none are moved by it as I am. Would that I could explain my feelings in words! I am often full of rapture, and it is only when the blue flower is out of my mind, that this deep, heart-felt longing overwhelms me.
Human, All Too Human & Beyond Good and Evil
Human, All Too Human (1878) marks the point where Nietzsche abandons German romanticism for the French Enlightenment. At a moment of crisis in his life (no longer a friend of Richard Wagner, forced to leave academic life through ill health), he sets out his views in a scintillating and bewildering series of aphorisms which contain the seeds of his later philosophy (e.g. the will to power, the need to transcend conventional Christian morality). The result is one of the cornerstones of his life's work. It well deserves its subtitle 'A Book for Free Spirits', and its original dedication to Voltaire, whose project of radical enlightenment here finds a new champion. Beyond Good and Evil (1886) is a scathing and powerful critique of philosophy, religion and science. Here Nietzsche presents us with problems and challenges that are as troubling as they are inspiring, while at the same time outlining the virtues, ideas, and practices which will characterise the philosophy of the future. Relentless, energetic, tirelessly probing, he both determines that philosophy's agenda and is himself the embodiment of the type of thought he wants to foster. With an Introduction by Ray Furness. AUTHOR: When the German philosopher Friedrich Wilhelm Nietzsche (1844 - 1900) lapsed into insanity in 1889, he had little conception of the fame and controversy his works would come to attract. Initially influential on writers such as George Bernard Shaw and Thomas Mann, his ideas would be misappropriated by the Nazis in the 1930s to support their policies on anti-Semitism, nationalism and warfare. It would be some years, and with the benefit of better translations, before his works would become more properly evaluated.
Human, All Too Human & Beyond Good and Evil
Human, All Too Human (1878) marks the point where Nietzsche abandons German romanticism for the French Enlightenment. At a moment of crisis in his life (no longer a friend of Richard Wagner, forced to leave academic life through ill health), he sets out his views in a scintillating and bewildering series of aphorisms which contain the seeds of his later philosophy (e.g. the will to power, the need to transcend conventional Christian morality). The result is one of the cornerstones of his life's work. It well deserves its subtitle 'A Book for Free Spirits', and its original dedication to Voltaire, whose project of radical enlightenment here finds a new champion. Beyond Good and Evil (1886) is a scathing and powerful critique of philosophy, religion and science. Here Nietzsche presents us with problems and challenges that are as troubling as they are inspiring, while at the same time outlining the virtues, ideas, and practices which will characterise the philosophy of the future. Relentless, energetic, tirelessly probing, he both determines that philosophy's agenda and is himself the embodiment of the type of thought he wants to foster. With an Introduction by Ray Furness. AUTHOR: When the German philosopher Friedrich Wilhelm Nietzsche (1844 - 1900) lapsed into insanity in 1889, he had little conception of the fame and controversy his works would come to attract. Initially influential on writers such as George Bernard Shaw and Thomas Mann, his ideas would be misappropriated by the Nazis in the 1930s to support their policies on anti-Semitism, nationalism and warfare. It would be some years, and with the benefit of better translations, before his works would become more properly evaluated.
Liebesgedichte
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