One can only hope it will not resolve itself in a similar manner. However, one cannot deny that the same motifs—a strong musical tradition, the centrality and individuality of Vienna, the birth of nationality, and the tribulations of empire—which characterized Austria-Hungary, constantly recur in his music.
She is currently pursuing graduate studies at the University of Alberta, with a focus on popular music. NOTES 1. It is also worthwhile to note that was inspired by the film Amadeus. Mozart, Wolfgang Amadeus. Mazierska, Ewa. Stiles, William H. Montagu, Mary Wortley. Sala, George Augustus. Diplomacy and the War London: J. Der Krieg ist vorbei. Nun muss man eine neue Weltanschauung schaffen, um den Schrecken der letzten vier Jahre zu verarbeiten.
Im achten Bild gibt es, gerade nach dem Tod eines Gefangenen, der wie Friedrich aussieht, eine richtige Geburt. Die alten Glaubenslehren sind tot, denn sie sind grausam und unbedeutend. Nein, tausendmal nein! Gemeinsames und. Seine Werke nach der Novemberrevolution sind. Anderson, Lisa Marie.
German Expressionism and the Messianism of a Generation. Amsterdam: Rodopi, , Benson, Renate. New York: Peter Lang, , Anderson, Toller, Ernst. Die Wandlung: Das Ringen eines Menschen. Potsdam: Gustav Kiepenheuer Verlag, , Ossar, Michael. Davies, Cecil. Australia: Harwood Academic Publications, , Davies, Benson, Toller, Sokel, Walter H. Stanford University Press, Sokel, Ossar, Tradition, Zitiert nach Ossar, Tradition, Johannes Toller, 6; Davies, Paris: Klincksieck, , For many, the war itself had been a symbol of madness, which finally came to an end after the armistice of November 11, Coinciding with the discourse on war neurotics was a greater focus on eugenics.
It is no coincidence that Karl Binding and Alfred Hoche juxtapose war and asylums; they are implying that the mental asylums contain the inferior men who were unable to give or deliberately avoided sacrifice on the battlefield. At the same time as the origins of war neurosis and its consequences for the German Nation were being debated, Weimar society had to decide how to deal with the traumatized victims of war. German life and culture.
German culture was already changing during the Wilhelmina era. In particular the advent and increasing popularity of film gave the German people a new form of entertainment and art. In From Caligari to Hitler: A Psychological History of the German Film, Siegfried Kracauer argues that films reflect the mentality of the nation because they are never the production of the individuals, and because they seek to appeal to the public, satisfying mass desires. It will answer the question of how the antagonism between war neurotics and the rest of Germany is reflected in Weimar film, and how this antagonism affects the perceptions, treatment and compensation awarded to war neurotics after the war.
The two films were chosen because their proximity to the war reflects early attempts to grapple with the phenomenon of war neurotics. Film analysis did not suggest that the films themselves had any impact on the perception of war trauma in the Weimar Republic—they were not propaganda pieces—but, instead suggests that they are primary sources which reflect anxieties surrounding war neurotics. One such film was The Cabinet of Doctor Caligari , which is an expressionist film focusing on a series of murders committed by a somnambulist, Cesare, and his master, Caligari.
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The use of the framing narrative in Doctor Caligari reflects two forms of antagonism between doctors and patients: that of a tyrannical doctor and a manipulated patient, and that of a well-meaning doctor and a demented patient with murderous intent. This commentary on the discourse of treatments for war neurotics in Weimar is important, for it affects the perception of war neurotics as being an object of contention in medical debate, and a potential threat to German society.
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Anton Kaes argues that Hutter, the protagonist has an encounter with the vampire that is followed by subsequent deaths upon his return, showing that he is a shell-shocked soldier, and the vampire, Nosferatu, is the war and death that follows him home. Because war neurotics began to be seen as a biological grouping, they were denied pensions and became an object of discourse for eugenicists.
Psychiatric Treatment in The Cabinet of Doctor Caligari Because war neurosis was steeped in political debate, and many questioned whether war neurotics were actually sick or whether they were just malingerers, psychiatrists had a range of responses to potential patients. Doctor Caligari is more than a psychological film. It is also in many ways a detective film, as the narrator, Francis, tries to find the murderer of his friend, Alan.
His hunt eventually leads him to Caligari and his somnambulist, and he learns that Caligari is forcing the somnambulist to commit murder. At last…! Caligari exploits Cesare and makes him do his bidding. In the case of Doctor Caligari, it would appear that there is no real villain: the evil outsider Caligari is part of the fiction of a madman. He is intent on placing his benevolent doctor in his position as a patient, which he achieves during the climax of his delusion when the crazy doctor is locked in his cell in the asylum.
This suggests that neurotics are displacing the roots of their mania onto their doctors, and, perhaps, that the image of the tyrannical doctor is nothing but the delusion of a mad man. In this fashion, the mental patients remain a threat at the end of Doctor Caligari: they are creating the antagonism that is weakening Germany. Nosferatu, Pension Vampires and Eugenics: The Discourse of Contagious Madness Both Kaes and Kracauer dedicate little time to the character, Nosferatu: Kracauer mentions him in passing as a visual representation of pestilence and a blood-sucking tyrant.
For Kaes, Hutter is the victim of shell shock as he is an eager young man who goes east and has an encounter with death symbolized by the vampire Nosferatu , and he returns showing symptoms of shell shock. What is the nature of the disease that Hutter brings home? War neurosis: an unknown madness that destroys the blood of the German people.
The idea of war neurotics as a plague on the German land had dire implications for their fate in the pension system of. Weimar and the Third Reich, and their fate during the rise of eugenics. These same ideas of parasitism and contagion—of war neurotics as an inhumane Other—had dire implications for the fate of war neurotics in the eugenics debate of the s, and their survival in the mass death of the Nazi regime.
The discourse of contagion reflected in Nosferatu and developed by eugenicists was key for the treatment of war neurotics during the Third Reich. A vampire is a creature that sucks out the lifeblood of the nation. It was fitting, therefore, that much of the discourse on eugenics focused on the idea of blood. Over time, however, extreme solutions to rid Germany of the mentally feeble—a group that was characterized as weak, lazy and incurable— gained ground in extremist groups. The Nazi Party platform during World War Two switched from a program of sterilization which had been predicted as early as Mein Kampf and was instituted by a law to prevent the birth of children with hereditary diseases to euthanasia.
Ideas of psychogenesis and eugenics, ideas of contagion and racial purity, reflected in Nosferatu influenced the lives of war neurotics under the Nazi regime, who became, even more than ever, pension vampires. Vampires, murders, victims of mad doctors and mad men themselves: these were all ways that Weimar cinema struggled with the image of the war neurotic.
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The Cabinet of Doctor Caligari depicts the antagonism between doctors and patients. The allegorical vampire, Nosferatu, is the embodiment of the contagion and degeneration that was feared. Because psychiatrists could not find an easy cure for war neurosis, they blamed patients for their own symptoms by using the language of genetics. This language painted war neurotics as a target of eugenicists, who feared that the genetically infirm were diluting German blood. The antagonism in the doctor-patient relationship depicted in Doctor Caligari resulted in fears of a genetically transmitted neurosis which was embodied by the vampire in Nosferatu.
War neurotics became simple neurotics: the plagues of war, and their fight for Germany, were irrelevant once they were perceived as a plague of malingers, shirkers, and genetically infirm. Her passions include mountain biking, skiing and horror films. Freud, Sigmund. Crouthamel, Jason. Kaes, Anton. Kracauer, Siegfried. Kaes, 5.
Kaes, 3. Linden and Jones, Ibid, Kaes, The Cabinet of Doctor Caligari. Kracauer, From Caligari to Hitler, Kaes, Shell Shock, Nosferatu, dir, F. Kaes, Shell Shock, Von Bodelschwingh, Friedrich.
Bodelschwinghschen Anstalten Bethel Bielefeld: Bethel-Verlag, Thomas Dunlap. Roth, Joseph. Flaubert, Gustave. Lukacs, Georges. Goldmann, Lucien. Moretti, Franco. Godeau, Florence. Duquette, Jean-Pierre. Godeau, Perloff, Marjorie. Mornin, Edward. They were often represented in media as obsequious followers of fashion, effectively emptying them of their political and social agency.
After World War One, many young and disenfranchised came to Berlin in search of work, freedom, success, and a possibility of escaping traditional gender roles. However, at the highest levels, fashion was still dictated by male designers such as Paul Poiret. Her work and style were influenced by her interactions with Symbolism, Art. Mammen moved to Berlin on her own, where she lived in a lowerclass neighborhood and experienced poverty, bad housing, and unemployment first-hand.
In order to survive, Mammen accepted all the work she could get as a commercial artist such as producing fashion plates, posters, and caricatures for satirical journals like Simplicissimus, Ulk and Jugend. She became known for her watercolor, pen and ink depictions of metropolitan Berlin, which were often compared to the works of Otto Dix and George Grosz. Although she mastered the linear and mystical style of Art Nouveau, beyond these fanciful stylistic elements, her work consistently dealt with women and their daily social conflicts.
Many of her works reflect the unequal power relationship between men and women, and between women of different ages and classes. This can be seen in her work Boring Dollies, completed from , which depicts two fashionable female figures shown with intense makeup and cropped hairstyles, which were popular at the time, alongside a porcelain doll. The women are shown leaning one each other, alluding to a possibility of lesbian desire.
The eyes of the. The colors are neutral, with only splashes of pinks and red on the lips of the two women and along the collar of the woman in the foreground. The women are not working and one of the women is smoking, a characteristic of the fashionable modern woman, making it a symbol of agency and pleasure. Enter your access token to activate and access content online.
Please login and go to your personal user account to enter your access token. Have Institutional Access? Forgot your password? PDF Preview. Table of Contents. Related Content. Moses Maimonides, unparalleled editions. Contact Sales. Moses Maimonides, unparalleled editions One of the greatest Jewish sages of all times, Moses Maimonides, was not only an outstanding legal authority, compelling philosopher, and accomplished physician, but also the most influential Jewish spiritual leader of his age.
To Western Christian scholars, he was known as Maimonides, while his own people called him Rambam , an acronym of Rabbi Moses ben Maimon. Driven by relentless persecution and by disturbances caused by invading fanatical tribes, the Maimon family spent many years wandering around Spain and North Africa. In , they finally settled in Fustat, a suburb of Cairo. Maimonides was to spend the rest of his life in Egypt, where he rose to prominence as physician and leader of the local Jewish community, and produced some of his greatest literary works.
There is barely a discipline of medieval scholarship or field of Jewish knowledge that he did not master and cover in his works. Written between and , the Mishneh Torah the Second Law, or the Mighty Hand is regarded as his masterpiece and the greatest contribution to Jewish law ever made by any one individual. His pragmatic rationalism is equally reflected in medical texts written while serving as court physician to Sultan Saladin in Cairo. According to experts, many of the views advocated in these writings were modern and far ahead of his time. Some of his treatises were translated into Hebrew and Latin e.
It includes imprints from the 16th up to and including the 20th century, some of which constitute landmarks in the history of Hebrew printing. To further illustrate the lasting popularity and wide appeal Maimonides' writings had over subsequent generations of scholars, we have also included examples of bilingual editions containing Hebrew and either Latin, Judeo-German, or French text. Translators Except for the Mishneh Torah and some responsa and letters which he wrote in the Hebrew language, Maimonides used Judeo-Arabic Arabic in Hebrew characters in all his writings.
Of the early surviving translations, some have become classics in their own right.
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Printers It is virtually impossible to quantify the number of printed editions that have been dedicated to Maimonides' writings since printing was invented. As a matter of interest, many of these printers have long earned a permanent place in the annals of Hebrew printing and typography.
Letters and responsa Maimonides replied regularly to legal questions addressed to him from both near and afar, and often wrote letters and epistles, some of which have survived. To date, more than of his responsa and all of his extant letters have been published in Hebrew. The press remained active until Examples included here are Venice, Adlelkind, and Giustiniani, , and Amsterdam, Proops, The manuscript notes found in the copy owned by the Library bear the name Aharon ha-Levi, who was probably a former owner.
Unfortunately, both Joseph Caro and Meir Parenzo passed away before printing was finally completed.