By Pol O?Dochartaigh
This quantity brings jointly papers by way of students from Germany, the us, France, England and eire given on the first foreign Feuchtwanger convention, held in l. a. in 2003. a few of Lion Feuchtwanger’s novels from his exile within the usa are analyzed the following, as are the lives of Lion and Marta Feuchtwanger and their contacts within the German émigré international in California. additionally, papers specialise in elements of Bertolt Brecht’s and Alfred Döblin’s lives as emigrants in California. This quantity is of curiosity to scholars of exile experiences, of German shelter within the united states and of contemporary German literature.
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Sample text
Ein Gott, der ‚nicht war’! Deutlich wird, dass die Auseinandersetzung mit Jefta und seine Tochter 27 Problemen des Judentums für Feuchtwanger keinerlei Rekurs auf biblischjüdische Glaubensvorstellungen einschließt. Deshalb glaube ich auch nicht, dass das ‚Hauptthema des Romans’ in einem ‚Ringen um den Begriff von Gott und Israel’ bestehe,13 sondern es gilt für den Autor von Jefta und seine Tochter dasselbe wie für Heine: die Bibel ist ihm ein großartiges historisches Dokument, ein Buch, das wundervolle Kunstwerke enthält, ein weltgeschichtlich überaus wichtiges Buch.
So auch resultiert Geschichte hier aus dem Zusammenstoß von Altem und Neuem, Nahem und Abgelegenem, Zufälligem und Geplantem, Erwartetem und Überraschendem; aus Materiellem und Ideellem, Individuellem und Gesellschaftlichem, Nationalem und Übernationalem. In diesem Geschichtsbild stimmen Intention und Ergebnis von Handlungen keineswegs überein. Jede Handlung hat ihre Voraussetzungen, ihre Konsequenzen wie ihren Preis (sie fordert ihre Opfer). Widersprüche erweisen sich als Ursachen aller geschichtlichen Bewegung.
409-10. 388. 35 Ibid. 36 41 Harold von Hofe, ‘Lion Feuchtwanger and America’, in John M. , Lion Feuchtwanger. 3350 (here 42). 410. This page intentionally left blank Ian Wallace Hangmen also die. Varieties of Collaboration Hangmen also die (1943) is generally regarded today as one of the most important anti-Nazi films to come out of Hollywood. Besides exploring the troubled collaboration between Fritz Lang and Bertolt Brecht during the making of the film, this chapter focuses on its depiction of the underground resistance in Prague following the assassination of the Reichsprotektor, Reinhard Heydrich.