Lotte in Weimar: Thomas Mann, Goethe y el exilio

The presence of Goethe in Thomas Mann can already be traced in his early works. Nevertheless, starting from the 20s Goethe begins to acquire a different meaning for Mann, as a representative of the humanist values of the bourgeois culture, in a process that assumes more specific profiles from 1933 on. In the context of exile, «Lotte in Weimar» arises as a historical novel in which Mann, together with Goethe, defines himself by facing nationalsocialism as part of the humanist and universal tradition of the German culture, critically featuring, at the same time, troublesome aspects of this culture.La presencia de Goethe en Thomas Mann se puede encontrar ya en sus obras tempranas. Sin embargo, a partir de los años 20 Goethe empieza a cobrar un significado diferente para Mann como representante de los valores humanistas de la cultura burguesa, en un proceso que va adquiriendo perfiles más concretos a partir de 1933. En el contexto del exilio, «Lotte in Weimar» aparece como una novela histórica en la que Mann, con Goethe, se autodefine frente al nacionalsocialismo como parte de la tradición humanista y universal de la cultura alemana, señalando asimismo críticamente aspectos problemáticos de esta cultura

Gallizismen im Roman „Lotte in Weimar” von Thomas Mann

The subject of this paper are words of French origin, occurring in Thomas Mann’s novel, “Lotte in Weimar”. The author uses numerous Gallicisms for stylistic reasons. The plot of the novel covers the 18th and the beginning of the 19th century, when the influence of the French language on the German language was very strong. The paper emphasizes the degrees of assimilation of French vocabulary in the German language system. Consequently, the collected material, derived from one hundred pages of the novel, has been divided into two large groups: 1) borrowings without German word-formation means, 2) borrowings with German or Germanized word-formation means in terms of derivation and composition. Noun borrowings in unaltered and altered forms are prevalent among the group of words without German word-formation means. In terms of derivation, the most numerous group is made up of verbs and participles. As regards composition, there were compounds observed containing both modified elements and modifiers of French origin. Nouns account for the largest share of the vocabulary collected, while adjectives and adverbs are less frequent

Lotte Reiniger’s career in animation and her first full-­‐length animated film, The Adventures of Prince Achmed

Title from PDF of title page, viewed on May 22, 2015Thesis advisor: Burton DunbarVitaIncludes bibliographic references (pages 66-76)Thesis (M.A.)--Department of Art and Art History, 2014Lotte Reiniger was the woman responsible for making the world’s first full-­‐length animated film, Die Geschichte des Prinzen Achmed (The Adventures of Prince Achmed, 1926). Along with her collaborators, she worked on the film for three years during the era of the Weimar Republic in Germany. The Adventures of Prince Achmed was shown in theatres all over the world including Berlin, France, London, New York, and Tokyo, and was always met with many positive reviews. Reiniger’s career was a long and prominent one, but her work is virtually unknown outside of animation studies. While there is not a lack of materials written on Reiniger and her work, there is still very little assessment of her accomplishments. The purpose of this thesis is to establish the art historical significance of Reiniger’s career, specifically that of The Adventures of Prince Achmed. This thesis treats Lotte Reiniger and the artists who collaborated on her films, their animation techniques, and how their films were made. Reviews from The Adventures of Prince Achmed’s earliest showings and Reiniger’s contemporaries’ assessments of her workmake it clear that she was a brilliant artist. I compare The Adventures of Prince Achmed with other animated films being made at the time, and consider the artists that have been inspired by Reiniger’s work up to the present in order to more fully assess the impact of the film on historically significant forms of film art.College of Arts and SciencesIntroduction -- Animation: definitions and explanations -- Lotte Reiniger's bibliography -- The Weimar Republic in Germany -- The Arabian Nights and the narrative of the Adventures of Prince Achmend -- The making of The Adventures of Prince Achmed -- The Adventures of Prince Achmed's premiere -- Reiniger's contribution to animation -- Conclusionmonographi

Zwei Unbekannte Briefe Thomas Manns

Paper by Hans Eichner of the University of Toronto

"Ein Buch für Schwächlinge" : "Werther"-Allusionen in Dramen des Naturalismus

Die "Werther"-Allusionen in zwei repräsentativen Dramen des Naturalismus – Arno Holz’ und Johannes Schlafs "Familie Selicke" und Gerhart Hauptmanns "Vor Sonnenaufgang" – dienen zum einen dazu, Milieu und Protagonisten zu charakterisieren und ihre Prägung durch bürgerliche Moralvorstellungen zu illustrieren. Zum anderen zeigt eine intensive Kontextualisierung der punktuellen Anspielungen, dass die naturalistischen Dramatiker damit programmatisch gegen die bürgerliche Goethe-Verehrung der Zeit und die Dominanz traditioneller Kunstanschauungen opponieren, die ihrer sozial-analytischen Dramatik im Wege stand

The Bauhaus and its “unnecessary experiments”: the deserter women architect

Este texto aborda la fascinante experiencia de las mujeres que estudiaron en la célebre escuela de la Bauhaus (1919-1933). Se centra en el colectivo femenino que se formó allí en arquitectura y que se convertirían con posterioridad en profesionales de prestigio en este ámbito. Tras una descripción de la situación general de estos estudios en la Alemania de entreguerras -periodo que coincide con la existencia de la República de Weimar y la Bauhaus- aborda la curiosa política de género que practicó el famoso centro artístico con respecto a sus alumnas. Unas alumas que fueron, inicialmente, la mitad de su alumnado. El artículo desarrolla el caso de tres figuras de reconocido prestigio internacional que se formaron en aquella institución: Lotte Stam-Beese, Annemarie Mauck y Wera Meyer-Waldeck. Un estudio desarrollado a partir de los documentos originales que se conservan inventariados en el Bauhaus-Archiv Museum für Gestaltung en Berlín (BHA).This text approaches the fascinating experience of the women who studied in the famous school of the Bauhaus (1919-1933). It centres on the feminine group that was formed there in architecture and that they would turn with posteriority into professionals of prestige into this area. After a description of the general situation of these studies in the Germany of period between the wars -period that coincides with the existence of the Republic of Weimar and the Bauhaus- approaches the curious politics of kind that practised the famous artistic center with regard to his pupils. A few students that were, initially, the half of his student body. The article develops the case of three figures of recognized international prestige that were formed in that institution: Lotte Stam-Beese, Annemarie Mauck and Wera Meyer-Waldeck. Original that remain inventoried in the Bauhaus-Archiv Museum für Gestaltung in Berlin (BHA)