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Ambassador Theatre, Alan King and Walter A. Hyman, Ltd. Eugene V. Wolsk and Emanuel Azenberg present "The Investigation," by Peter Weiss, English version by Jon Swan and Ulu Grosbard, scenery by Kert Lundell, costumes by Anna Hill Johnstone, lighting by Martin Aronstein, directed by Ulu Grosbard.
Discusses Weiss's plays, fiction, autobiography, and non-fiction prose. Pp. 22-25 illuminate "Die Ermittlung", an oratorio based on Weiss's 1964 attendance at the Frankfurt war crimes trial. He used actual documents both aesthetically and politically. 18 of the defendants appear with their real names, either defending themselves with the jargon of doing their duty or totally denying their guilt. Among the charges against these Nazis were conducting medical experiments, torture, and murder. Ch. 7 (pp. 107-129) elucidates Weiss's three-volume novel "Die Ästhetik des Widerstands", about resistance to Nazism in thought and action. The characters in the novel are based on members of the Rote Kapelle resistance group. Politics and creative thinking (art) are shown as complementary, not contradictory.
A meticulously observed and macabre tale of hell on earth from the revolutionary German author of the famous play Marat/Sade Peter Weiss’s first prose work, The Shadow of the Coachman’s Body, was unanimously praised as an original and perfect work of art by critics when it appeared in 1960. Here, in poet Rosmarie Waldrop’s stunning translation, Weiss arranges a dark, vividly alive comedy of inert objects in a dismal boarding house—stones, buttons, hooks, needles, chairs, newspapers in an outhouse, clinking tin cups, celestial orbs, sewing machines, an overwound windup music box—which have oblique characters’ shadows as their supporting cast. Described by Weiss as a “micro-novel,” The Shadow of the Coachman’s Body can be obscene, trivial and brutal, and yet it is also peculiarly intimate and offers endless possibilities—like a telescope and kaleidoscope rolled into one.
Examines the life & work of the playwright & novelist whose literary stature places him among Boll, Grass, & Frisch as one of the leaders of postwar German literature.
After a long period of neglect, emotions have become an important topic within literary studies. This collection of essays stresses the complex link between aesthetic and non-aesthetic emotional components and discusses emotional patterns by focusing on the practice of writing as well as on the impact of such patterns on receptive processes. Readers interested in the topic will be presented with a concept of aesthetic emotions as formative both within the writing and the reading process. Essays, ranging in focus from the beginning of modern drama to digital formats and theoretical questions, examine examples from English, German, French, Russian and American literature. Contributors include Angela Locatelli, Vera Nünning, and Gesine Lenore Schiewer.
Speaking the Unspeakable in Postwar Germany is an interdisciplinary study of a diverse set of public speeches given by major literary and cultural figures in the 1950s and 1960s. Through close readings of canonical speeches by Hannah Arendt, Theodor W. Adorno, Ingeborg Bachmann, Martin Buber, Paul Celan, Uwe Johnson, Peter Szondi, and Peter Weiss, Sonja Boos demonstrates that these speakers both facilitated and subverted the construction of a public discourse about the Holocaust in postwar West Germany. The author's analysis of original audio recordings of the speech events (several of which will be available on a companion website) improves our understanding of the spoken, performative dimension of public speeches.While emphasizing the social constructedness of discourse, experience, and identity, Boos does not neglect the pragmatic conditions of aesthetic and intellectual production—most notably, the felt need to respond to the breach in tradition caused by the Holocaust. The book thereby illuminates the process by which a set of writers and intellectuals, instead of trying to mend what they perceived as a radical break in historical continuity or corroborating the myth of a "new beginning," searched for ways to make this historical rupture rhetorically and semantically discernible and literally audible.
Proceedings of the April 1995 meeting. After an overview of nitration and of changes in the field in the past 20 years, papers discuss theoretical aspects of nitration and the production of polynitro compounds, N2O5 technology, the production and use of N2O5 as a nitrating agent, and industrial aspects of nitration. Specific topics include continuous manufacturing of solid dinitrogen pentoxide, and commercial dinitrotoluene production processes. Of interest to chemists, engineers, administrators, researchers, students, industrial employees, and government workers involved in nitration applications. Annotation copyright by Book News, Inc., Portland, OR
Nostalgia for the Future is the first collection in English of the writings and interviews of Luigi Nono (1924–1990). One of the most prominent figures in the development of new music after World War II, he is renowned for both his compositions and his utopian views. His many essays and lectures reveal an artist at the center of the analytical, theoretical, critical, and political debates of the time. This selection of Nono’s most significant essays, articles, and interviews covers his entire career (1948–1989), faithfully mirroring the interests, orientations, continuities, and fractures of a complex and unique personality. His writings illuminate his intensive involvements with theatre, painting, literature, politics, science, and even mysticism. Nono’s words make vividly evident his restless quest for the transformative possibilities of a radical musical experience, one that is at the same time profoundly engaged with its performers and spaces, its audiences, and its human and social motivations and ramifications.