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Those who live in glass houses zaps (the Fourth)

Monday, 4 February, 2008

Elder similar, like a bad joke by repetition is not better, gaining a meager statement is not founded on credibility if they simply re-establishes, without subjecting them to support it with at least one relevant new fact. It casts a bad light on those who alleges that the yet again, the suspicion does suggest that he lacks good arguments. Among the enterprising investigative journalists from the media magazine "Zapp" NDR seem these little truths about his childhood, but apparently not penetrated.

In the past week, namely one sent under the aegis of the "King of the research," ¹ , also known by his middle name of "Kuno Haberbusch", a rather antiquated. The occasion was the upcoming 58th Berlinale on which the film "Heart of Fire" (directed by Luigi Falorni) on 14 Premiere will have in February. Because of this inspired by eponymous book by Senait Mehari, is ringing alarm bells for all Zapp, this appeared to be Pavlovian sense, but were waiting for, were produced at the protest to an even greater extent the secretions. Finally, Zapp, his own - usual immodest - view is that, "revealed" almost exactly a year ago , that was all lies in Meharis book. So now the film version of a "lie" ² - as you climb up at Zapp but now with the battle cry barricades to avert this danger to society, for it seems to keep Meharis book. It attaches so much importance to her book as if it brought Mehari the foundations of how society works. People need to finally learn the truth, and this has a truth Zapp and spread it with missionary zeal. Otherwise it could be tomorrow for all to late. Someone might see the movie and form their own opinions without being informed by Zapp and be indoctrinated. What a risk!

It's really pointless to show at this point again in detail, how one-sided Zapp then obviously researched and argued. Therefore, it is referred to several articles on this website, which at length with this one-sidedness and also with the double standards of Zapp deal ³ .

In summary, should be noted, however, that one seems to Zapp anything researched as an outcome that Zapp's arguments are just as good or as bad as that of Mehari and that Zapp just not in the sense of "audiatur et altera pars", reported as his task is a magazine funded by the public. Zapp fulfills its public service remit inadequate, which reads well in such a way to provide comprehensive and balanced. Since it does not help much when Zapp, obviously any directive of the director of communication to the public service broadcasting in accordance with, suddenly always thanked the distinguished audience for the fees paid, without which the unsurpassed and groundbreaking research by Zapp would not be possible. more>

Zapp self-promotion, of course, with self-deprecating wink, but deep inside probably absolute conviction. [ ← ]
The fictionalization fictionalization of how to read already was. [ ← ]
First Those who live in glass houses zaps - 2nd Those who live in glass houses zaps (the Second) - 3 zaps who live in glass houses (the third) [ ← ]

Rimbaud - L'homme aux Semelles devant / en vent

Monday 24 December, 2007

H ow should the monument look like a poet, who rejected at the age of eighteen years, the poetry and her back was turned? For a poet of the Stefan Zweig said: "His breathing was so hot that the wax was melting in his hands, rather than adapt to the shape. The literature, the arts were too weak to allow the unspeakable to tell all. And so he threw it away, with eighteen years "-" Poetry was to him nothing.. Just another rescue attempt, a valve for the crowding-excess Vitaltät, only one attempt among others, and the first attempt at " ¹ So how should one monument look for Arthur Rimbaud, who burned all his manuscripts in his possession seal on a pyre, whose poetry has been known only by the posthumous initiative of former friends of a great public? Certainly a man standing on a base with rolled-up parchment paper or a pen in hand and with his face modeled demonstrative foresight the restless and driven Rimbaud would not do justice at all. An answer to the question, how could such now look like a monument, is found in the fourth arrondissement of Paris, the Quartier de l'Arsenal ² on the Place du Pere Teilhard de Chardin, diagonally opposite the Pavillon de l'Arsenal. The local plastic is the result of the examination by the French sculptor Jean Ipoustéguy ³ with the person and work of Arthur Rimbaud. After the city of Paris Ipoustéguy with the creation of a monument to Rimbaud had commissioned, designed the end of 1983, first a small sculpture with the working title "Maquette Rimbaud" ⁴ out of plaster and cardboard ⁵ , from the same year, the small bronze titled " Esquisse Rimbaud " ⁶ emerged. Also in late 1983 made Ipoustéguy Portätstudie one titled "Etude visage Rimbaud" ⁷ at. From this preliminary work at the beginning of 1984 have involved the large-scale sculpture, which was eventually cast in Paris in 1985 at Blanchet. The bronze sculpture is 2.2 meters high, 4.6 m long and 1.8 m wide, ⁸ and is titled: "L'homme aux Semelles devant," which is translated as: "The man with the soles of progress" or "The Man forward with the soles. " It is intended to be dubbed a play on the name with which his lover Verlaine have, namely: "L'homme aux Semelles de vent" ⁹ , which is translated as: "The man with soles of wind" or " The man with soles of wind "or" The Man with winged feet by the wind. " Apparently, individuals seem to have the nature of a tribute not recognized when they are the title of the sculpture to be defective. Such contemporaries feel compelled then to inform the world through a white correction pen the supposedly correct version ¹⁰ . Obviously, keep these people, it actually possible that the creator of the sculpture, which indeed will be seen as yet, have looked closely at the issue must be credited in the title of his work an understanding of error and a resulting typographical errors does that then is well tolerated for decades, officials in Paris. Not in the sense of the proofreaders were well aware that this is a deliberate modification is a further development and exaggeration, a play on words - just a tribute. At the sight of the sculpture is the first division of Rimbaud Body in the eye. With this representation irritating succeeded Ipoustéguy a striking symbolism of Rimbaud's inner conflict, his impetuous nature, his restlessness and his being driven. And what is more natural to use as symbols in honor of one of the founders of the literary symbolism? Considering also the etymology of the word symbol, the use of this stylistic device seems even more appropriate. The Greek root word symbolon (σύμβολον) to mean "feature, characteristic, landmark" is a form of symballein (συμβάλλειν), meaning "to throw together, create, add, 'means. Symbolon was originally agreed between various persons identification. Here it was broken rings, broken glass and the like. By the fit of each Anfügestücke to recognize their owners again. The fragments thus embodied the unity. Clearly symbolizes the broken halves of the fact that friends in ancient Greece for a long time before they parted, their names scratched into a piece of broken and then it broke. Each wore a half with him then. A symbol is thus an indication of character, and points beyond itself. The two pieces are the pieces have only one course, but their materiality or their ostensible appearance but also "symbolically" on friendship and also points to separation and longing. Thus it can be brought to the point means of the symbol in the easiest and abstract way, a complex condition, which otherwise would require a longer text, or an explicit representation, because if he ever so easily could realistically represented. Such may be referred to an inaccessible, hidden and deeper reality. Seen Ipoustéguy has a fracture through the body of Rimbaud Symbol created in the present in the original sense of the Anfügestück the legs to the upper body. Attached to the upper and lower body together again, one would Rimbaud in his outer condition. But the breaking of the body shows here its internal state and the resulting lifestyle, without the symbolism would indeed not be displayed in a static image form. Ipoustéguy has thus created both in the original sense, a Symbolon as well as in the present meaning a symbol. more>

Arthur Rimbaud. Life and poetry. Transferred from KL Ammer. Introduced by Stefan Zweig. Leipzig, 1921, p. 18 and 8 [ ← ]
This district was located, as a foreshadowing of the name, originally the royal arms and ammunition. [ ← ]
* 1920 † 2006 [ ← ]
Rimbaud model [ ← ]
30cm high and 50cm wide [ ← ]
Design Rimbaud, 29.5 cm high, 49cm long and 29cm wide [ ← ]
Study "face Rimbaud" [ ← ]
Lipp, Michael Jean Ipoustéguy - The Plastic Factory 1940-1992, S.537. [ ← ]
"Commenting on sait, Rimbaud surnommé a été" l'homme aux Semelles de vent "." Arthur Rimbaud - complètes oeuvres / correspondance. Paris, 2004, p. CXXXII. [ ← ]
Figure [ ← ]

Also tagged Denkmal , Paris , Plastik | Comments (2) Filed in monuments , literature , Paris , sculpture | Tagged memorial , Paris , sculpture | Comments (2)

Le Passe-Muraille

Monday 22 October, 2007

A b-side from the hustle and bustle within the Sacred Heart is located approximately half a kilometer north-west of it, there, where to meet the Rue and the Rue Girardon Norvins, Place Marcel Aymé, named after the French playwright and storyteller. He lived from his birth in 1902 until his death in 1967 on the Rue Montmartre, Norvins number 26 In his honor, was out of this house number of the Place Marcel Aymé number 2 In its present structural form of the place was already in his lifetime as an indentation in the Rue Norvins. He was thus created for him purely nominal and consists only of this house number. Thanks to this indentation could succeed in this very elegant solution. But this honor was left alone did not stop here. The famous actor, director, choreographer, painter and sculptor Jean Marais created a bronze sculpture of the heroes of Ayme's short story "Le Passe-Muraille" from the 1943 ^one , which was inaugurated in 1989.
This hero named Dutilleul lived as if by accident just two streets away from his Creator in the third floor of the Rue d'Orchampt number 75 and was a bachelor, as well as third-class officer in the Ministry of Finance. Because he was a power failure at the age of 43 years out, that he had a very unusual ability. In fact this power outage, he groped in the dark for a while and found himself suddenly on the stairs again, without, however, that he had passed through a door. As the door was locked from inside, saw Dutilleul forced to return to the way in his apartment, where he had left her apparently. And lo and behold, he actually came through the wall back to his apartment.
Now, however, Dutilleul of his nature forth such a nature that it this gift more alienated than the adventurous drive, which is why it right the next day in this matter a doctor visited, of a "helical hardening in the reactor wall of the thyroid" diagnosed and his pills prescribed, from the "tetravalent yarrow extract, mixed with rice flour and Zentaurenhormon" existed and had to take twice a year. Dutilleul took the first tablet, deposited the rest in his bedside table and then forgot about this incident and his superhuman ability for an entire year.

But a change in his life should he to mind recall than he that is got a new boss named Lécuyer, which moved into a fresh wind into the department and changed the kinds of things, such as formulations which his subordinates in their letters had to use. Dutilleul but could absolutely not used to it and always fell back into the conventional, more polite formulas. Because of this intractability, he was transferred for disciplinary reasons by Lécuyer into a small storage room, leading directly to his office. Lécuyer harassed because Dutilleul continued remembered that one day his genius. Repeatedly, he stuck his head through the wall from then on his boss and cursed them. But always when Lécuyer rushed over after such a phenomenon in Dutilleul's cubicle, he found this properly at his desk at work, so Lécuyer had to doubt his sanity. Dutilleul drove this game until Lécuyer was finally admitted to a mental hospital.
Actually, yes it would Dutilleul can leave it there, he was disliked his tyrannical boss but now going on. But Dutilleul had tasted blood and was already thinking about other applications of its ability. He moved now on bank robbery and was looking for a bank home after another, filled his pockets with money and other valuables. Soon all of Paris knew the intruder, the police simply did not get to take. The crook, who always left his werewolf pseudonym "Garou, Garou" in writing to the crime scene was soon to the city and also to the office this week. Dutilleul so had to watch as his colleagues are full of admiration for this "-Garou Garou" expressed. Finally he could stand it no longer and boasted to colleagues so that he even these "Garou, Garou" is what they believed, and certainly not Dutilleul instead constantly teased.
The following night was when Einbbruch Dutilleul therefore deliberately caught in a jewelry store to prove to his colleagues that he was indeed "-Garou Garou". The next morning his picture on the front pages of newspapers and he himself in prison. There he kept guard and director repeatedly fooled by simply leaving the prison, as he pleased and away breakfast or guest room in the apartment of the prison director accommodated. At some point, but he was tired of it and left the prison in the long run, be put to a different appearance and took a new home in the Avenue Junot ² , right around the corner from his former apartment. He sought a new challenge for his administration, after the thick prison walls had indeed presented no obstacle. So he floated before a trip to Egypt, where he intended to try out the walls of the pyramids. But first he took some time undetected in Montmartre. more>

This novella was published in German translation in 1949 by Rowohlt Stuttgart / Hamburg / Baden-Baden under the title "The man who could walk through the wall and other Parisian Scheherezade." [ ← ]
This is the way to the continuation of the above Norvins Rue, who lived in the Marcel Aymé. [ ← ]

Also tagged Denkmal , Film , Paris , Plastik | Comments (0) Filed in monuments , film , literature , Paris , sculpture | Tagged memorial , film , Paris , sculpture | Comments (0)

Where the Germans to dry their laundry?

Friday 11 May, 2007

S olche and similar questions the members of a Chinese delegation for urban development in the eastern Chinese port city of Ningbo their tour guide in Luo Ling Yuan's recently published novel "The Chinese delegation." The parallels between the song Sanya tour guide and the author are obvious. Both are native Chinese who have returned to their homeland and went back to Germany, where she lived for several years with a German husband and their livelihood as a tour guide and interpreter earn (ed). In the program book market in Germany radio conceded Lingyuan also fully frankly, their characters encountered in this work to have assembled in this book. This is therefore a novel with autobiographical traits, what makes him, in this case, only sexier.
Nineteen members of the delegation will visit in as many days, Europe, officially, to learn about European architecture and European urban planning, especially for her organized lectures to visit, to acquire skilled workers and businesses to thread, also, but to also "shop" around, casinos to attend and pursue other disreputable pleasures. The route begins in Rome and runs through the Vatican to Pisa, Venice, Vienna, Salzburg, Munich, Leipzig, Berlin, Potsdam, Hamburg, Amsterdam, Brussels, Trier, Luxembourg and ends in Paris.
As a "quick-disciplined tourists" prepares the delegation members such exuberant program for European travel habits no further trouble, not surprisingly, it is still in this country a lot of Japanese people already so accustomed to. One might think that such undrawn tourists evening fall right into bed and sleep. But the companionship comes from the Chinese apparently not too short. They regularly meet in hotel rooms, other members in order together to drink tea and play cards, other times just sneak in and out of the hotel and sightseeing attractions of the day to take another look at your own pace under the microscope.
The head of the delegation, Wang Jian, as it serves as deputy Party secretary, vice mayor of Ningbo city planner and the highest-ranking member of the group. His civilian name is only mentioned briefly at the beginning, because he is both the passengers and the tour guide anxious addressed respectfully with Wang or only with commander commander. He is a despotic man, whose whims the being of the whole group is affected, that of fellow passengers is always honey smeared around the mouth to keep him happy, what is also important in that, though, because of his position by ordering or just order refusing has the economic ups and downs of his fellow passengers in the hand. Wang is a repulsive character of the tour guide, he, whatever their origin anyway regarded as a foreigner (dissident?), Constantly bullied and harassed. A man full of double standards, especially before entering the capitalist and disreputable places, such as the Reeperbahn priggish gives lectures in which he reminded the group, whom they represent:

"Comrades," he shouts into the microphone. "We will see a neighborhood that is depraved and corrupt, and where held in public things that are illegal in China and rightly so. We must be careful that we not confuse the dregs of capitalism, with its golden side. Is a critical and detached approach appropriate. I stress critical and distanced! "

What does Commander Wang underneath, one can observe in Amsterdam. more>

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Fear God, Christian Gellert - A fabulous grave ...

Saturday, 6 January, 2007

O n 13th I leave in December Gellert Professor of Philosophy after thirteen days of stubborn body obstruction and inflammation of the inward temporality, Leipzig newspapers reported. ^one with him and City University of Leipzig had lost one of its most famous men, it said further. In fact, one of the most important representatives of the people of Leipzig were deprived of education, which can boast such well known names such as Johann Christoph Gottsched and Gotthold Ephraim Lessing. With his "Fables and Tales" (1746-48), which emerged from the Enlightenment ideal of virtue out, Gellert was one of the most widely read authors of the 18th Century. His epistolary novel "The life of the Swedish Countess of G ***" founded in Germany, the bourgeois novel. His comedies have taken the "sentimentality" (Comédie larmoyante) one from French into German literature. Even as a professor by his students enjoyed Gellert great reverence and love, like Goethe, in "Poetry and Truth" reported. His lectures on morality, poetry and eloquence had been fully suppressed, Goethe. In Goethe's student days in Leipzig, Gellert's life, however, already bowed to his end. Gellert and his funeral was by no means, however, found his last resting place, as will be described below.
After three times reburial is Gellert's final resting place is now at the Leipzig South Cemetery (Division I). However, his first burial place was located on the Old St. John's Cemetery. As the now non-existent John's Church between 1894 and terminated on the tower was to be based on plans by architect Hugo built in neo-baroque style, new light, were found on the south wall of the bones of Johann Sebastian Bach and those Gellert. They exhumed her and put her in 1897 in the new church was completed in a crypt under the altar again in space.
After the nave in 1943, had been badly damaged in air raids, in 1949, the debris removed and disposed of the remaining ruins of the nave. In the same year, the bones were reburied in Bach's St. Thomas's Church, while the bones of Gellert in the University Church of St. Paul were transferred. The remaining tower of St. John's Church was renovated in 1956, which did not change the fact that the atheistic regime of the GDR it was blown up in 1963, so at this point today, only the name "John's Place" is reminiscent of the church. The south-east, behind the Grassi Museum located Old St. John's Cemetery, now a museum park, is a further indication of the existence of the earlier church. The existing since 1563 Old St. John's Cemetery was closed in 1883 due to full utilization of its capacity for burials. Henceforth, the new St. John's Cemetery, opened in 1846 was used, which was located about one kilometer southeast of the old St. John's Cemetery. On 31.12.1950, however, this cemetery was used for burials by the municipality - and twenty years later, 31.12.1970, closed to the public. Then came the secularization of the first acre of God, in whose tomb the course and enclosing equipment and broken graves were leveled. Reburial took place only if they were privately funded. Only about 120 were saved and stored grave times on the Old St. John's Cemetery. Improper transportation there, however, led to severe damage to the historically significant objects. Vandalism and theft did eventually care of the rest, so that after the end of the worker-peasant state and only 58 times grave were left who could be rehabilitated and were then in the southeastern part of the Old St. John's Cemetery in the specially erected for these objects decorated stonework. In 1983, the now secularized population of New St. John's Cemetery under the new name of "peace park" released as a municipal recreation area for use. Thus there fell away a name that recalled the existence of the Church of St. John. The running in a northeasterly direction Johannisallee However, a still existing reference to this church. The Locust Avenue is located between the Old St. John's Cemetery and Peace Park.
But back to the fate of Gellert's bones. Them only a short period of rest was allowed, because they host the University Church of St. Paul was a thorn in socialist construction planners. Religion had been in a "Karl Marx" renamed University, on a now on the name "Karl Marx" rechristened place no right to exist, but this just modified the claim made by Lenin coined, according to religion was the opiate of the people. His later disciples of the East German Politburo in intelligence probably far superior to all - - but now the Marx had made this remark at a time when the Christian religion almost exclusively on the side of the "propertied classes" stand. The "evils" of the existence of the propertied classes had removed the communist regime in 1968 largely. It was the aim of "classless society" so much nearer. It is quite conceivable that Marx would have given this new context into account. His letters and slogan-loving faithful followers were apparently such a transfer of intellectual power is not capable of. The clerical evils had apparently ideologically blinded their eyes be eliminated root and branch. more>

See Loeffler, Katrin; Schöpa, iris etc.: Leipzig's South Cemetery - History / burial / grave monuments. Leipzig, 2004 ^2, p. 46 [ ← ]

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Julius Campe

Saturday 23 December, 2006

N ot just a tomb, in which one is tempted to call it unpretentious - it is always nice. So one has to move "just" someone like Heine and the bereaved can already fund such a temple.

Heine said about the way his publisher as follows:

"The Republic was never Hamburg / As big as Venice and Florence, / But Hamburg has better oysters; Dine / Best in the basement of Lawrence. / / It was a beautiful evening, as I / I betook with camping; / schlampampen We wanted each other there / In the Rhine wine and oysters. [...] I ate and drank with good App'tit, / And thought in my mind: / 'The Campe is truly a great man, / If all publishers bloom. / A of other publishers would have / might be starving, / The drink, however, gives me even, / Will never leave him. / / I thank the Creator on High ', / The juice of these grapes / He created, and to my publisher / The Julius Campe given!' " ¹

The tower-like rotunda is located at the Hamburg main Ohlsdorf cemetery was created in 1915 by Alexander and Rudeloff of limestone and bronze. The dome sits on dorisierenden columns. Under the building there are four crypt cells. The entrance is facing west. The door is made of riveted sheet metal and bronze is a "maskaronähnlichem" ^two door knockers provided.

Literature:

Heine, Heinrich: Germany - A Winter's Tale. Zurich, 2005.
Leisner, Barbara; Heiko Schulze KL and Ellen Thormann. Hamburg's main cemetery Ohlsdorf. History and monuments. Volumes 1 and 2 Hamburg, 1990.

Heinrich Heine, Germany - A Winter's Tale, Caput XXIII [ ← ]
Leisner, Barbara; Heiko Schulze KL and Ellen Thormann. Hamburg's main cemetery Ohlsdorf. History and monuments. Volumes 1 and 2 Hamburg, 1990, p.117. [ ← ]

Also tagged Hamburg , Nekropolis , Verleger | Comments (0) Filed in Hamburg , literature , Necropolis , publisher | Also tagged Hamburg , Necropolis , Publishers | Comments (0)

Alfred Kerr - died in transit

Tuesday, 19 December, 2006

"Thank you. - I wait unperturbed
On some of what will happen now.
Man dies a death, you just do not know what;
Maybe a pretty Schlaganfällchen. " ¹

Haarmann, Hermann; Siebenhaar, Klaus; Woelk, Thomas (ed.): Alfred Kerr - reading book on the life and work. Berlin, 1987, p.35. [ ← ]

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Wolfgang Borchert

Monday 18 December, 2006

The modest tomb Wolfgang Borchert and his parents at the cemetery Hamburg Ohlsdorf

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al-Ahram on Naguib Mahfouz - الأهرام عن نجيب محفوظ

Friday, 3 November, 2006

Mubarak: "Naguib Mahfouz is one of the immortal icons ... he has reaped the fruits of his gifts for Egypt." The President, in public statements of Osama Saraya, editor in chief of al-Ahram: "Egypt will not forget what one of his most distinguished sons of the human thinking has made a gift. " ¹
Egypt has every reason to this great writer and Nobel laureate truly autochthonous to be proud of. Unfortunate thing is that a significant proportion of the Egyptian population, this man would have loved promoted before his natural death in the afterlife. It should be recalled only to the crimes committed by an Islamist attack on Mahfouz in 1994. Unfortunately, the belongs to the truths that are official in Egypt was not listening so much.

Quote of the front page of the international edition of Egyptian daily al-Ahram from 01.09.2006 [ ← ]

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Speaking of parallel worlds

Wednesday, 4 October, 2006

As for the collection by Bertolt Brecht's Socialists should, at this point to the following assessment Marcel Reich-Ranicki is referenced:

"[...] Bertolt Brecht's supporters wanted a theater that would allow the communist society. Brecht was a communist society, however, so it enables his theater. Unequal skeptical, unlike wiser than many of his students and followers, he was well aware that the policy could destroy the theater, but never to improve the theater's policy is capable of. The occasionally invoked by him, a meeting of Weltänderern '- so he set in 1943, the future theater audience - was nothing more than a fiction. Of course he knew. However, he wanted to leave her under any circumstances. What his admirers often took at face value and should take was, for himself no more and no less than an aid for his literary production, as a general working hypothesis.
Not so, Brecht sought a lifetime to the theater, because he was concerned with the class struggle. But he always dealt with the class struggle, because he as an impulse and theme of his work required.
Not the world changer Brecht needed so the theater and poetry. But required the man of the theater, the poet Brecht sought to change the world or Marxism as an ideal foundation and as a goal. [...]
Not the poet, not the great seducer has outlived its usefulness, but the tireless teacher who wanted to lead us to the revolutionary path to salvation, or at least pretend this. In one of his great poems, there are the oft-quoted words: 'What are those times when a conversation about trees is almost a crime, because it implies silence about so many horrors?'. But to their own reminders, Brecht rarely cared. It has been noted many times before that, but you have to repeat it yet: He, Brecht, who has sung the Soviet Union and praised and capitalist America ridiculed and attacked, wanted to live in the years of exile for anything in the world in the Soviet Union. He went - happily - in the United States. He also warned against talking about trees. In his work, but he often speaks - again, fortunately - just by trees and flowers, by the grace and kindness, by the charm of life and love. " ¹
So, dear comrades of the Socialist Committee: You are only puppets in a Brechtian drama, things did not really exist.

Marcel Reich-Ranicki: texts by and about Bertolt Brecht. Published in 1998 EastWest Records GmbH [ ← ]

Also tagged Geschichte , Medien , Parallelwelten , Politik , Theater | Comments (0) Filed in history , literature , media , parallel worlds , politics , theater | Tagged history , media , parallel worlds , politics , theater | Comments (0)

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