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Else Lasker-Schuler, a pivotal figure in German Expressionism, presided over avant-garde cafe life in pre-World War I Berlin in much the same way Gertrude Stein did in Paris around the same time. While her work is not yet very well known in the English-speaking world, it has been enjoying a critical and popular revival in Germany. This full-length biography of Lasker-Schuler--the first in English--explores her poems, plays, prose and graphic works in light of her life. It begins with her fleeing to Switzerland after Hitler's accession to power in 1933, looks back at her childhood in Wuppertal, then follows her life through to its end in Jerusalem in January 1945. As a Jew, a woman and a bohemian, Lasker-Schuler defied every category. Her two marriages--first to Dr. Berthold Lasker, then to Herwarth Walden, founder of the leading avant-garde periodical, gallery and publishing house, Der Sturm (The Storm)--as well as her interactions with Karl Kraus, Franz Marc, Gottfried Benn, Martin Buber and Gershom Scholem, are documented in letters and poems, many included here both in the original and in translation.
A collection of vital autobiographical pre-WWI prose from the great German-Jewish writer Never before translated into English, this trio of works finds one of the greatest German writers of the 20th century mythologizing her own pursuit of freedom in captivatingly original fiction. In The Peter Hille Book (1906), Else Lasker-Schüler offers an elegy for her arch-bohemian mentor. But this hypnotic blend of Nietzsche, fairy tale and paganism also celebrates the one Hille called 'Tino'--the author herself--and the electrifying uncertainties of the creative life. In the 1907 text The Nights of Tino of Baghdad she sends her alter ego on a heady voyage through an imagined 'Orient'. From the banks of the Nile the narrative advances across a wide emotional landscape, using Muslim and Jewish motifs to explore the commonalities of Semitic identity. Finally, Lasker-Schüler's avatar encounters dervishes, biblical figures and a 20-year-old foetus in The Prince of Thebes. Issued on the eve of World War One, this sequence of dark fables seethes with violence and eroticism, culminating in a great clash of civilizations in which Tino leads the charge. An insightful afterword details the genesis of these Three Prose Works in the context of the author's tumultuous life. Fiction.
This 1974 book was the first treatment in English of the poetry of Else Lasker-Schüler, a German-Jewish poet who died in exile in Jerusalem.
Eight poems by Else Lasker-Schüler, translated by Eavan Boland, and a major essay by the translator on the life and times of the author. The poems are excerpted from Lasker-Schüler's 1943 collection, My Blue Piano (Mein Blaues Klavier), which she wrote while living in exile in Jerusalem after fleeing Nazi Germany.
Famous for her poetry and infamous for her bohemian lifestyle, as well as her association with political radicals, Else Lasker-Schüler (1869-1945) is only now returning to just renown as one of the few women writers within the Expressionist movement of the early twentieth century. These plays--Dark River, Arthur Aronymus and His Ancestors, and I and I--put Lasker-Schüler on a par with Brecht in her day.
A new collection of poetry, revised from the original collection published by the Jewish Publication Society.
Examines the influences of location on the literary achievements of three modernist women writers
Else Lasker-Schüler (1869–1945) was born into an affluent German Jewish family. Following the death of her parents and the dissolution of her marriage, the fledgling poet became notorious in the fashionable cafés of Berlin for appearing in costume as a Persian girl or as an Egyptian boy. Her flamboyance was echoed in her poetry, which combined the sexual with the religious in its exploration of the ecstatic experience. Critics have long dismissed her poetry as decadent in its romantic use of references to moonlight, flowers, and woodland creatures. In his introduction, Haxton addresses such criticism by arguing that what others have termed kitsch and cliché in Lasker-Schüler’s poetry may be understood more fully as a kind of iconoclasm, like that of her Expressionist contemporaries, and as an authentic expression of emotional tenderness. Her poetry also resonates with the cultural moment of Sarah Bernhardt’s gender-bending stage performances and Freud’s sexual interpretations of the subconscious. The poems collected in this bilingual volume represent the full range of Lasker-Schüler’s work, from her earliest poems until her death. Haxton’s translation embraces the poems’ lyrical imagery, remaining faithful to the poet’s vision while also capturing the cadence and rhythms of the poetry.
Taking as its starting point Franz Kafka's complex relationship to Jews and to communities in general, When Kafka Says We explores the ambivalent responses of major German-Jewish writers to self-enclosed social, religious, ethnic, and ideological groups. Vivian Liska shows that, for Kafka and others, this ambivalence inspired innovative modes of writing which, while unmasking the oppressive cohesion of communal groupings, also configured original and uncommon communities. Interlinked close readings of works by German-Jewish writers such as Kafka, Else Lasker-Schüler, Nelly Sachs, Paul Celan, Ilse Aichinger, and Robert Schindel illuminate the ways in which literature can subvert, extend, or reconfigure established visions of communities. Liska's rich and astute analysis uncovers provocative attitudes and insights on a subject of continuing controversy.
Around the beginning of the twentieth century, Jewish writers and artists across Europe began depicting fellow Jews as savages or "primitive" tribesmen. Primitivism—the European appreciation of and fascination with so-called "primitive," non-Western peoples who were also subjugated and denigrated—was a powerful artistic critique of the modern world and was adopted by Jewish writers and artists to explore the urgent questions surrounding their own identity and status in Europe as insiders and outsiders. Jewish primitivism found expression in a variety of forms in Yiddish, Hebrew, and German literature, photography, and graphic art, including in the work of figures such as Franz Kafka, Y.L. Peretz, S. An-sky, Uri Zvi Greenberg, Else Lasker-Schüler, and Moï Ver. In Jewish Primitivism, Samuel J. Spinner argues that these and other Jewish modernists developed a distinct primitivist aesthetic that, by locating the savage present within Europe, challenged the idea of the threatening savage other from outside Europe on which much primitivism relied: in Jewish primitivism, the savage is already there. This book offers a new assessment of modern Jewish art and literature and shows how Jewish primitivism troubles the boundary between observer and observed, cultured and "primitive," colonizer and colonized.