Guide Nachdenkliche Gedichte: Band 1: Über Liebe und menschliche Verletzlichkeit (German Edition)

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He then also reshapes another central humanist theme, concern for human dignity, in the image of Being because Heidegger believes that traditional humanisms failed in establishing human dignity. Es gilt die Humanitas zu diensten der Wahrheit des Seins, aber ohne den Humanismus im metaphysischen Sinne.

The truly human subject originates within social categories and is expressed primarily as ethical obligation to others and to the world. Derrida holds open the ontological difference and refuses even to give the name of Sein to that which produces this difference and speaks into it. For him, therefore, Heidegger is still logocentric. The ontological difference cannot be thought in theoretical fashion but only as the process of interpreting our historical modes of being.

For Heidegger, transcendence is the openness of human being to Being itself whose nature he does not qualify. For Levinas, by contrast, transcendence is defined not by our relation to Being but the prior ethical relation to another human being. Heidegger remains fascinated with his primary insight that being itself gives rise to the ontological difference and so grants to human beings the central understanding that things manifest themselves as a gift from Being.

Conversations with Philippe Nemo, Pittsburg , Richardson S. Die Seinsgeschichte aber ist eben die Geschichte dieser seiner Lichtung im Denken, und diese gehen vom Sein, und nicht vom Denken aus. He argues against our enslavement to abstract concepts and advocates a stance of freedom for responsibility in the face of death. Schwierige Freiheit, Frankfurt am Main , For by replacing responsibility to the other with responsibility to Being, Heidegger allows for the rationalization of inhuman practices. As long as human being is in any way the reflective site for a greater, impersonal reality i.

Paradoxically, in Levinas self-identity and self-knowledge begin not with cognition or re-cognition. We do not discover the essence of our humanity when we open our eyes or ears to Being but when we sense, in the midst of enjoyment and the cares of life, the ethical obligation to our neighbor. Levinas tries to show in detailed phenomenological analyses of consciousness, memory, and time that at the heart of human existence we find inexplicable limiting experiences rather than Emmanuel Levinas, Otherwise Than Being, trans.

Smitch, New York , Rather than correlation and sameness, we find disruption and breach, which point us to ethical transcendence as the origin of all human communication and meaning. Conclusion When we compare Levinas and Heidegger carefully by attending to their work as a whole, we find that both reject an autonomous self and timeless, universal reason. Moreover, both strive to overcome subjectivism and define human being as freedom and transcendence. The crucial differences between them is that Heidegger grounds human identity in our relation to Being while Levinas derives human identity from our pre-ontological ethical relation to other human beings.

Theologians like Levinas, Otherwise Than Being, Yet one nagging question remains concerning this accommodating interpretation. Has not Heidegger himself attuned us to the power of language as an address of Being? And language unveils, at least to some degree, how things are, whose language appears more human? Heidegger insists that the essence of humanity lies in our service to being. Are we to measure our dignity by an impersonal entity or by a deity whose primary concern is justice?

After all, nothing less than the meaning of freedom, truth, and humanity depends on how we answer this question. I am no man, I am dynamite. It is my fate to have to be the first honest human being, to place myself in opposition to the mendaciousness of millennia […]. When truth enters into a fight with the lies of millennia, we shall have upheavals, a convulsion of earthquakes, a moving of mountains and valleys the likes of which have never been dreamt of. The concept of politics then merges completely with a war of spirits [Geisterkrieg], all the power structures of the old society having been exploded, since they are all based on lies: there will be wars as there never yet have been on earth.

It is first with me that there is grand politics on the earth. I am indebted to Alfred Denker for this reference. Krell; in: Nietzsche i, New York , Only in that way can historical Da-sein take root and flourish in the realm opened and identified by the goal. English translation by C. Wallraff and F. Jaspers sent a copy of the first edition of his book to Heidegger in early What sets the standards for greatness? Answer: the grand style, which provides the standards for grand politics. Rather, it is measured by the degree to which the artist approaches the grand style, to which he is capable of the grand style.

That style has this in common with grand passion, that it disdains to please; that it forgets about persuading; that it commands, that it wills. Cited according to Guido Schneeberger, Nachlese zur Heidegger. Dokumente zu seinem Leben und Denken, Bern , August Native to the Greeks is the holy passion of the heavenly fire; their allotted historical task is the binding of unbound rapture and bringing it to stand in the representational artwork Homer. German historical Dasein has the opposite task. For its native endowment is the clarity of representation and the ability to order to the point of stringent systematic organization, so that its appointed task is to infuse this order with the fire of passion, of being affected and moved by archaic be-ing.

Will we understand this mark? One thing is certain: history will wreak vengeange on us if we do not. The shift constitutes a counter-thrust to the totalitarian direction that National Socialism in fact took. To this site of history belong the gods, the temples, the priests, the celebrations, the games, the poets, the thinkers, the ruler, the council of elders, the assembly of the people, the armed forces and the ships.

All this does not first belong to the polis, is not first political, because it enters into a relationship with a statesman and a general and with the affairs of state. Rather, what we have named is political, that is, at the site of history, insofar as, for example, the poets are only poets, but then are actually poets, the thinkers are only thinkers, but then are actually thinkers, the priests are only priests, but then are actually priests, the rulers are only rulers, but then are actually rulers.

Are: but this says: to use their power as violence-doers and to rise to eminent stature in historical be-ing as creators, as doers. Poets and thinkers, statesmen and prophets are gathered together in lonely, untimely, tragic, and contentious dialogue at this core of history, Da-sein. To be truly political is to be at the site of history, Da- sein in its root facticity and possibility, which in each of its epochal instantiations is ours here-and-now. Politics or better, statesmanship here finds its origins in poetizing and thinking.

Language here is the original institution of be-ing in the violent words of poetic origin and not just a means of communication for the sake of quick and easy agreement, rhetoric. The community of creators is a combative community of agonistic struggle over the extreme issues of archaic be-ing Seyn. Hearing from one another, listening to one another, reciprocally involves radically placing each other in question over the radical issues at stake.

Rapprochement here is contention, contestation, war, a war of agonistic spirits. Coming to an understanding is combat. We will find this ground and at the same time the calling of the German people in the history of the West only if we expose ourselves to be-ing itself in a new way and new appropriation. I thereby experience the current events wholly out of the future. Translation by Frank W. Heidegger in in fact adjudged Hitler to be a phronimos or statesman capable of rising above narrow party interests to become a leader sensitive to the needs, desires, and tendencies of the German people as a whole.

But there are other ways in which the essential bond of cooperation between leader and people are achieved and sustained, and Hitler immediately established himself as a master at not only reading, but also evoking and accentuating the fundamental moods Grundstimmungen of the German people to gain their active cooperation Zustimmung in the grand historical mission Be-stimmung and commissions that he only gradually revealed to them.

The will of the leader first of all re-creates the others into a following out of which a community arises. It is from this vital solidarity of followers to leader that sacrifice and service arise, and not 34 Martin Heidegger, Logik als die Frage nach dem Wesen der Sprache, GA 38, Frankfurt am Main , Other forms of effectuating the will of the state, like the administration of governance and of justice, reinforce political education.

A subtle but perceptible shift in Heidegger occurs between and it is the shift from the metontological to the seynsgeschichtliche concept of the political. Philosophy can never directly supply the forces and create the modes of operation and opportunities which bring about an historical state of affairs, if only because philosophy is always the direct concern of the few. Which few? Those who transform creatively, the unsettling ones.

Prominent thinkers like Max Weber and Max Scheler had recently played dominant roles as government counselors, joining a long line of German intellectuals going back to Goethe and the Humboldt brothers. This prevalence of malice is nothing negative, is not an incapacity and mere misstep. It thus not only awakens the mood of mere displeasure and regret but also fills us with terror by virtue of its perverted greatness. Consternation over the Four Year Plan, especially among the younger faculty at Freiburg, led to a series of working meetings among them, independent of the party sanctioned discussions of the matter.

In demanding undisturbed quiet for supratemporal science, one finds a new common ground for compromise: From the side of science, one concedes that there is no such thing as pure theory, that there is room for a worldview. Running away solves nothing. Best to remain and exploit the possibility of meeting like-minded individuals. That what we have called Science is running its course and technologizing itself, perhaps for a whole century, proves nothing to the contrary!

At this point, Heidegger abandons his fading hope in a difference in the decisions made by narrow- minded party functionaries and by Hitler himself, the statesman whose originative deeds create a new state and a higher order. After he develops a more refined sense of the essence of technology as completed metaphysics, Heidegger will characterize Hitler as the supreme technician of a System as much being imposed upon him as manipulated by him, by way of a shrewd calculative thinking totally devoid of any vestige of the meditative thinking required of the statesman.

XXVI of this collection of notes, a note that was written no earlier than late Some have regarded it as his first unequivocal critique of National Socialism. On the development of the concept of the greatness of Dasein in each case ours at this time, which we have followed only in part in this essay, see also the following: Martin Heidegger, Die Grundbegriffe der Metaphysik. Instead, he continues to pursue the pre-political Geisterkrieg of grand politics with great thinkers like Nietzsche in trying to come to terms with the planetary meaning of the Second World War.

Is this not a continued expression of hope for enlightened despots who would exercise their will to power at least instinctively according to the meditative measures of the artist-tyrants and philosophical legislators that Nietzsche hoped would emerge? Wieck and J. One aphorism No. Particularly as employed in the late work of Paul de Man, reading is a technical term that refers to our mode of access to texts, but also to the capacity of criticism to open up non-totalizing interpretations of traditional works.

For Heidegger, however, metaphysics itself acquires an entirely new meaning through multiple interpretations of philosophical and literary works during the period of Sein und Zeit and extending into the years following its publication. Instead of functioning in the traditional manner as a term that describes Paul de Man, Allegories of Reading.

While the issue of art does not emerge strongly in the Cassirer-Heidegger debate, we can easily envision how the basic concerns of aesthetic experience might have figured in a more complete version of this encounter. Bernard, Amherst Krell, in: Nietzsche I, New York , Marshall, New York At the same time, Heidegger does not merely criticize Nietzsche as an interpreter of Kant but readily admits that matters of philosophical originality are sometimes quite distinct from matters of scholarship.

As a hermeneutical concept, the misreading of a text can constitute the basis for a productive reading that opens up a new line of interpretation. From the genealogical standpoint, both Kant and Schopenhauer follow Platonic directives in elevating noumenal over phenomenal relations on the basis of an underlying ontological difference. The death of the subject that his philosophy announces can be related to the attempt to retrieve a realm of being that has been denigrated since the origin of metaphysics.

In calling attention to this movement away from the whole concept of the subject, Heidegger is able to suggest how Nietzsche came to perform a crucial role in contemporary thought. And yet, while approaching the problem of aesthetics in an original manner, Nietzsche also risks transferring the dangers of subjectivity into the work of art itself. Heidegger suggests that, as a Plato, The Republic of Plato, trans.

For example, in acknowledging that Nietzsche was always interested in clarifying the relationship between art and truth, Heidegger also contends that his concept of truth was never developed beyond the positions of Plato and Aristotle, which were later enshrined uncritically in the exemplars of early modern thought.

From this standpoint, Nietzsche does not represent a significant advance over the epistemology of Descartes. Thus, while defining truth in terms of error, he refers his definition to a notion of certitude that lies at the heart of the Cartesian theory of knowledge. The connection between Christianity and Platonism has been clearly established in numerous studies, but Nietzsche invites us to rethink this relationship, not on the level of historical influence, but in terms of shared patterns of denial that demonstrate mutual complicity.

It is true that Nietzsche distinguishes Plato from Platonism largely due to issues of historical influence as opposed to authorial meaning. However, Heidegger cannot be identified with this uncomplicated reading. Hence the craftsman allows things to become present as phenomena, that is, as appearances that in some way correspond to ideas. However, the nature of this correspondence remains difficult to determine. From this perspective, the material thing can only detract from the original radiance of this idea.

This does not mean, however, that Heidegger interprets Plato as providing the model for a basic discordance that Nietzsche simply appropriates in a new key. Hence beauty and truth are distinguished but related as differently attuned to an experience of radiance that posits Being in non-discordance. It is evident to Heidegger that Nietzsche interprets Plato as functioning in terms of a clearly articulated form of metaphysical dualism.

For this reason, Nietzsche cannot simply challenge traditional Platonism in a manner that leaves everything intact after basic structures have been displaced and perhaps dismantled. Heidegger argues that Nietzsche does not arrive at a full understanding of his mature position until very late in his career. Heidegger discusses this final, Nietzschean phase in terms of two related moments. This abyss is that of life, which is recognized as a contradictory phenomenon that integrates various perspectives in order to function as a coherent entity. The perspectives that enable life to flourish coordinate an encounter with appearances, which constitute the core of reality itself.

Reality is radiance. Nonetheless, Heidegger continues to refer to Nietzsche as a metaphysician who reinterprets the question of being in terms of a revised notion of appearances. Is Heidegger justified in describing Nietzsche as a metaphysician? Nietzsche turns the history of metaphysics into an allegory, and then Heidegger reads Nietzsche as opposing the traditional idea that reality is stable and unchanging. Reality, when interpreted as will-to-power, assumes the status of a ground that ultimately exceeds the totality of perspectives that are applied to it.

How can this inconsistent interpretation be acceptable? The way out of this apparent impasse has been perhaps most skillfully explored by Eric Blondel, whose work on Nietzsche has the hermeneutical value of deepening our reading of Heidegger. This scheme, if properly understood, should prevent us from turning the will-to-power into the text that underlies every interpretation.

In confronting the strengths and weaknesses of his subject, he encourages us to place Nietzsche in an intellectual context that is appropriate to a major figure in the modern tradition. But what has not received much attention, I would argue, is the way Heidegger will read this history from within the tradition of justice.

Why does Heidegger seize upon the topic of justice as essential for rethinking the essence of truth within the history of being? On what grounds does he decide to privilege justice as a lever by which to raise again the question of truth? In what sense does the Nietzschean conception of justice offer a measure by which to think of being as physis? Heidegger did not have to look far for the roots of such a Verwindung. Dritter Band. Ratio becomes counting, calculating [Rechnung], calculus.

Ratio is a self-adjustment to what is correct [das Sicheinrichten auf das Richtige]. It becomes decisive, rather, as a signature moment in the history of truth for the West. In both these texts, Nietzsche will point to the necessity of setting limits on the boundless possibilities that confront the self. In this delicate art of balancing what is healthful and noxious, what is of advantage and disadvantage to life, Nietzsche will locate the problem of justice.

Later, in Thus Spoke Zarathustra, this art of judicious balancing will emerge in the fate of the tightrope dancer. What does he indicate to you? This is the lesson of Antigone and Oedipus that Heidegger would draw on in Introduction to Metaphysics: against the limits of the limit itself—made manifest in death—no techne can prevail. For what comes to limit in dike is nothing other than the limits of the human being against being itself. Justice as adjustment to being constitutes tragic wisdom in a Sophoclean sense. But it is precisely this understanding of justice as adjustment that is lost on Antigone, Creon, and Oedipus as well as on the later technicians of planetary Machenschaft.

What Heidegger seeks to think here in his Auseinandersetzung with Nietzsche is a way of thinking the hidden, essential meaning of dike in its non-anthropomorphic sense. This involves for him a recognition that there is a limit that emerges from out of physis itself that is not equivalent to the limits imposed on physis by the will; rather, it exceeds them and does so in a way that overwhelms the human subject and renders his planning and calculation as nothing.

What is fitting is that we fit in at all. We do not make the fit; we accede to it. We say: the dwelling of the human being, his abiding in the midst of beings as a whole. Any reading of what this could mean would have to take up the question of technology and the problem of dwelling in the abode of an ecological order out of balance with the machinations of will to power. However, I would also argue that part of what comes to language in the barely articulated possibility of an originary ethics is the meaning of dike thought of as Fug, rather than as Gerechtigkeit.

For the question of ethics can only be posed in relation to the originary sway of dike as the Heraclitean jointure of what is both in and out of joint. This disjunction between being and human beings lies at the root of the homelessness that prevails in the age of technology. Within this disjunction itself, however, there lies hidden an untranslatable possibility of conjointure, or Fug, that barely comes to language in the translation of dike.

Heidegger never really develops a full- scale reading of dike nor does he turn to justice as an explicit theme, except in a few of the Nietzsche lectures from the late thirties and early forties and in his Anaximander essay from Yet this is not because it was not crucial for his thinking. What justice demands, however, is that thinking be carried on originally and in fugal counterpoint to what lets itself be thought of as originary ethics, a thinking that Heidegger himself can barely think. But first: since much of what is to be said here will depend for its point on an awareness of given aspects of the work, it will be necessary to review certain of them preliminarily.

The Parmenides is a lecture course of Winter Semester l that saw print only in It also marks crucial philosophical and political developments in his thought. In order to lay open the meaning of this term, Heidegger chooses as his point of departure one of its early and important appearances in the West, the Greek word aletheia. Parmenides quotes her apparently without concern for any risk his echoing her words might pose for his originality as a thinker. One would want to add to her list at least an additional twenty. He is willing to quote Parmenides quoting her and to devote the entirety of his semester to her name and her words—but, it is important to emphasize, not to conventional interpretations of either.

This will be a circular journey— from not yet understanding Aletheia to coming to understand her. Her name, on which Heidegger immediately focuses, provides a route to this understanding. He sees as well that it first of all encompasses conflict, a conflict between concealedness and unconcealedness. Truth, then, is, at its primary level, conflict, not to be overlooked if truth is to be understood comprehensively, since, without conflict, truth at its second level, the level of a given appearance, cannot come about.

Before a truth can emerge as such it will have been engaged in conflict. Even truth thought as unconcealedness, if merely as unconcealedness, i. Truth at ground level is conflictual and fecund. The aletheia theme proper, however, is but the first of three controlling themes in the work. A second is a way of thinking that is aware, and heedful, of being, a theme closely connected with the aletheia theme, at times flowing together with it and eventually seeming to have evolved out of it. Like the word aletheia, this way of thinking stands in conflict with its own opposite, the way of thinking that typifies the West: metaphysics.

For him, here is no human dignity to be had in following this way of thinking. Instead, it seeks to master, subordinate, surpass, even bypass being. Heidegger figures metaphysics from time to time in the persons of a number of other philosophers as well, whom he names, distinguishing them one from another—and all, implicitly, from himself—in relation to their metaphysical roles: Plato, Aristotle, Descartes, Leibniz, Kant, Hegel, Schelling, Schopenhauer.

It must remain concealed in the open, represented in significant part by the name Nietzsche. Interpreters of the Parmenides do overlook Nietzsche, however. In several studies of the Parmenides he in fact goes without mention. More typically he is but cursorily noted. But for a few exceptions, he remains more unremarked than acknowledged.

What might justify his being overlooked? A number of possibilities suggest themselves. I name but three. Here these have fallen away. Here he is radically pared down, leaving him, though an undeniable power, much narrowed, highly formulaic, almost a caricature, typified by a few key terms that Heidegger has, also in the earlier works, already dealt with: will, will to power, superman. Moreover, Soffer treats only those pages of the Parmenides deriding Rome, not commenting on their resonances throughout the Parmenides, and leaving the myriad other appearances of Nietzsche, also throughout, without comment.

Neckarmühle-Veranstaltungen

See Review of Metaphysics 49 March l , The Nietzsche of the Parmenides would then be, and in the same sense, a caricature of a caricature. This Nietzsche can seem to have already been thought, already been decided. With these possible reasons for overlooking Nietzsche laid out, it will be useful to counter them with reasons that further support paying him the closest possible attention.

First: Because he is present in innumerable and significant ways throughout the work, ways that far exceed the occurrences, merely, of his name. Thus I note numerous ways Nietzsche is said in the work and the roles these cast him in. My account must necessarily be suggestive rather than exhaustive. Acute foregroundings. Though occurrences of his name alone might permit a certain inattention except when Heidegger pounds away at it, as he does on several occasions , it and the code words combined, even considering nothing else, guarantee him, if one is alert to them, an already commanding presence in the work.

And these are only a beginning. They come associated with other words and phrases that, once their link with Nietzsche is established, call him to mind throughout the text wherever they occur. Heidegger, Parmenides, GA 54, ; Parmenides, Heidegger, Parmenides, GA 54, 74; Parmenides, 50 and elsewhere. The case is similar with other main themes, such as subjectivity and historiography, historiography for Heidegger being calculative, balance-sheet history Historie as opposed to true history Geschichte , history heedful of being.

Heidegger, Parmenides, GA 54, 73; ; Parmenides, 50; Here, where Nietzsche is anathema, resoluteness requires, and undergoes, a profound change of meaning. The Nietzsche appearances identifiable as middle-groundings occur before the Rome diatribes which are two, the second occurring as a recapitulation of the immediately preceding lecture and before Nietzsche is named. That was you! Though ancient in pedigree, they are ways of being prevailing as Heidegger speaks. Rather than consider it a foregrounding of him, however metaphysics, too, serving almost as an code word for Nietzsche , though understanding it as this as well, I locate it as background.

Such are some of the ways Nietzsche is said in this many-leveled work, each identifying for him a given metaphysical role—Romanist, modernist, philosopher of nineteenth-century biologism; perpetuator via Spengler of historiogaphy; validator of earlier and generator of new, mistaken understandings of truth, all culminating in the will to power and the superman. They have a powerful contemporary meaning. They can be but briefly suggested here. I am indebted to Theodore Kisiel for this reference. But Heidegger, in an irony until now not noted, in fact identifies Nietzsche with that very Rome that Nietzsche himself has criticized and that Heidegger vilifies.

Heidegger in this way not only vilifies Nietzsche as well, but, by implication, the National Socialism inspired by him. The easy, comfortable, and presumed relation of difference, of opposition, between Rome and Nietzsche is, rather, for Heidegger, a relation of sameness, of identification between them. If they belong together, we must be able to identify their opposites, so that we may know them. Heidegger shows in the Parmenides that we can only come to know a thing fully if we examine it across its conflictual opposites.

With what does the Rome-Nietzsche-National Socialism axis stand in conflict? Heidegger scarcely dares say. He cannot overtly identify Nietzsche and National Socialism with malign Rome. Nor can he then point openly to an opposite devoutly to be wished. What stands to them in opposition is in any event but a wish, and a forbidden one. I am assuming here in somewhat the way Heidegger appears to have done, that consciousness is capable of engaging in dissemblings and displacings similar to those practiced by the unconscious, of, for example, using supposed unconcealments to cover concealments.

This is indeed what Heidegger himself is doing here. Richardson, S. Opposite Rome-Nietzsche-National Socialism it is this that he envisions: another Germany, one echoing in part a former one. What would be new is that grounding the Germany to come would be the ways of thinking and being that Heidegger shows the way to as he seeks aletheia. The lecture was delivered February 9, , Stalingrad having fallen January Kisiel has, since the writing of the present article, shown that neither comment was delivered in the course as taught.

Theodore Kisiel, personal communication. To undo the obstructions to understanding that prevail even here, Heidegger reflects, a certain license of translation and interpretation may prove necessary; and he acknowledges that he cannot, in this context, do justice to scholarly issues.

With this qualification, he undertakes an interpretation of the choral ode that follows out three trajectories: seeking firstly what is crucially at issue in the ode as a whole, exploring, secondly, the dimension opened up by its strophic order or sequence, and thirdly, taking the measure of human being as characterized by the poetic word. The first trajectory follows out, as the key insight of the Sophoclean ode, the essential trait of human being in virtue of which man is spoken of as to deinotaton, the most awesome among the multitude of awesome things encountered.

Yet humans are in no way alien to to deinon in this first sense. This is presumably part of the violence that Heidegger acknowledges doing to the text. He understands the polis here as a nucleus of human agency, arguing that its poets, thinkers, priests, and rulers are what they are insofar as they exercise violative power Gewalt. As creators, they lack limits, laws, and structures; for it is up to them alone to initiate these for the polis.

As concerns the powers foregrounded in the second strophe: speech, thought, mood, law, political organization, and medicine Heidegger omits the latter but adds passion , Heidegger argues that they are not human inventions or achievements, but that they penetrate human being to its core. Thus these powers, which are characteristic of man, introduce alterity or uncanniness into his very self. Not because of any failure of ingenuity, but because their very ingenuity entangles humans in semblance Schein , so that, as they turn every which way, they find themselves debarred from an opening unto being.

Moreover, and crucially, every ingenious pathway is also obstructed by death. Heidegger emphasizes that human beings come up against death not just when dying lies immediately ahead, but constantly, because essentially. Heidegger ignores this further exploration of human disempowerment. Here he follows out three avenues of thought. The form of techne that outstandingly accomplishes this is art.

In its very appearing Erscheinen , the art work renders being, thought as physis, or as an arising into presences, compellingly manifest in its radiance Schein. Here then the violative power exercized by man, or techne understood as to deinon, brings to pass a disclosure of being within beings and counteracts entanglement in semblance. Secondly, whereas the Sophoclean chorus emphasizes the constraints of justice, Heidegger thinks dike or justice as the alter-aspect of to deinon: as that which both resists and encompasses human initiative.

He calls to deinon in this sense also by the names of jointure or fitting-together Fug and its variants. In the third consideration, Heidegger returns to the thought of to deinotaton as the interrelation of the two aspects of to deinon, that is, of techne and dike. Heidegger seeks to wrest the understanding of tragedy free of a speculative paradigm. For this reason, humans are not simply at home in their accustomed and homelike surroundings; but rather, they seek what, in the stream-like flow of presencing and absencing, dynamically but insubstantially abides. Moreover, Heidegger charges, metaphysical thinking cannot do justice to the negative, even when it tries, with Hegel, Schelling, and ultimately with Nietzsche, to overcome, redeem, or valorize it.

In his lecture course on Der Ister and in his subsequent lecture course on Parmenides. It is to be heard as an ancient word for being. The polis is then polos, the pole around which all presencing turns. Calculation is dependent on the science or knowledge of the mathematical, and set into power by the machination of technology. Calculation is important politically because everything becomes adjusted to its way of thinking, and the incalculable is looked at as the not-yet calculable.

Calculation makes a particular way of thinking organization possible. This is briefly discussed in Martin Heidegger, Nietzsche. Protagoras and Descartes One of the running themes of the Nietzsche lectures is the problem of Descartes. Descartes is seen as emblematic of a fundamental break, where being becomes understood as that which is calculable. One of the ways Heidegger pursues this theme is to contrast Descartes and Protagoras.

Waterfield, Harmondsworth ; Theaetetus, trans. Levett, revised by Myles Burnyeat, Indianapolis John Stambaugh, David F. To be the measure of all things, for the Greeks is therefore that the human lets themselves be revealed through the disclosing of aletheia. The measure of all things is the human. As we might expect, in Descartes this is turned on its head. Heidegger makes this point in a number of ways—essentially the mathematical is not grounded in number, but number is grounded in the mathematical.

Because mathematics is something grounded in ta mathematica, that is the observation of what is. Mathesis is learning, ta mathematica what is learnable. Such a shift also forces us to rethink the nature of truth, which is no longer understood as the unconcealment Heidegger finds in the Greeks, but as veracity, certitude, accord. The human Krell and Frank A. Descartes, however, equates extensio and spatium.

Behind this characterisation of the objectivity of the nature stands the principle expressed in the cogito sum: Being is representedness Vorgestelltheit. A human notion becomes the measure of all things. As is well known in Heidegger, the essence of technology is not in itself technological, but is a way of seeing things as calculable, mathematical, extended and therefore controllable. Heidegger suggests that the outcome of this transition goes beyond metaphysics, but can be seen in particularly clear form in contemporary politics.

Nor is it able to think the relation between technology and the human. That style will only be firmly embedded and absolutely validated by such new choices. Here in , Heidegger is outlining the point of his technology essay. Given its frame of reference, physics always deals with sheer relations of force with a view to the magnitude of their spatio-temporal appearance. Rationality, ratio, has become mathematical, rather than concerned with relation and balance, or to the Greek term logos, much more associated with language than number: This idea of science never investigating its core concepts as such is returned to in a few places.

When it does it ceases to be science, and rather to be philosophy. What mathematics is can never be determined mathematically; what philology is can never be discussed philologically; what biology is can never be uttered biologically. To ask what a science is, is to ask a question that is no longer a scientific question.

One of the most extensive discussions of related themes comes in a course delivered shortly after the conclusion of those on Nietzsche, Grundebegriffe. Such comments clearly follow from those outlined since at least It is one thing when empires Reiche endure for millennia because of their continuing stability. For this course I have made use of the translation by Gary E. Aylesworth, Basic Concepts, Bloomington It appears in various predecessors and guises that are not sure of themselves and their essence. That in the twentieth century this will would attain the shape of the unconditional, Nietzsche had clearly thought in advance.

Nietzsche here is seen both as the diagnostic, and potentially the problem. That subjugation appears as will, and that means it is also effective here […]. This is a wider problem. Whether this attribution be through critique or celebration it is flawed thinking. Political circumstances, economic situations, population growth, and the like, can be the proximate causes and horizons for carrying out this metaphysical will of modern world-history.

The will to Heidegger, Grundbegriffe, GA51, The will to power, to domination, to preservation and all the metaphysical baggage it carries is another stage in the long running problem. Conclusion Although Heidegger does not always follow this through, Nietzsche often understood and anticipated many of the themes of the thousand year conclusion.

In fact logic like geometry and arithmetic only applies to fictitious truths that we have created. On the other hand, it does not teach individual autocracy: it makes of many one machine and of every individual an instrument Werkzeug to one end. Its most generalized effect is to teach the utility of centralization. Heidegger certainly believed this, but while Nietzsche saw the will to power as both a element of the world and something that could be turned to positive good, Heidegger felt it to be will to will, nihilism, the ultimate form of the old problem.

The thinking through of these themes in this period—i. Indeed in Heidegger, Grundbegriffe, GA51, More broadly they contribute to an understanding of the relationship between calculation and the political. Rhetoric as a test case for power over the other For both Plato and Aristotle, rhetoric is a dunamis, i. Plato and Aristotle both employ the parallel to the art of medicine when dealing with the art of rhetoric. And by virtue of this power you will have the doctor as your slave, and the trainer as your slave; the money-maker will show himself to be making money for another and not for himself, but for you, who through this power are able to speak and persuade the multitude.

It is apparent that the art of rhetoric occupies a site in social life, i. It is further evident that it belongs to rhetoric to see the real and apparent means of persuasion [ Like all arts and sciences, the work performed is a seeing and a theorizing which can then be put into practice. A dunamis or power or force or potential or potency is a mode of being which Aristotle characterizes as arche metaboles allooi e hei allo, i. This know-how is a point of origin, or starting-point residing in a builder governing the change in wood, stone, tiles, etc.

They all have this choice. You have rights, after all. One is struck by the deliberately civilian atmosphere of the institution. This is not a prison. The tone is understanding, all the table football and food you want. Not a single false note, a camera that is on the spot but never obtrusive and the clever placement of direct quotes and observations coalesce into a great story about governmental structures and individual hopelessness.

In view of which the above stated is pure polemics, of course. Avner Faingulernt was born in the Kibbutz Bror Hayil in As a feminist activist and researcher she has lectured widely. Als Israel am 7. Und die ist deftig. Phosphorbomben auf sie werfen. Alle traumatisieren. Sie empfangen die gleichen Bilder wie das Fernsehen und sind wie alle blinde Augenzeugen. Was also will Israel wirklich? When Israel began the war on Gaza on 7 December , two courageous Israeli directors grabbed their cameras to shoot material along the common border.

The result of their journey is a disturbing essay about war and tourism. The camera eye observes the Israeli audience, who have picnics at raised view points to watch the war, from up close. Drop phosphor bombs on them. Traumatise them all. They get the images television gets and are blind eye-witnesses like everyone else. The metaphor of the bullfight, which repeatedly interrupts the narrative to comment on it like an ancient chorus, is well-suited to their language of war.

But for the matador, the bull in the arena is the means to one end only: to subdue his untamed nature as a representative of the spectators. So what does Israel really want? She takes the viewers into a labyrinth of thousands of white silk dresses and leads them to the core of this almost sacred looking cloth structure. Once the first scepticism towards the subject is overcome, the film gives us access to the complex cosmos of the female cycle that women follow every month: blood as a sign of being able to give birth, but also as a symbol of the loss of not having created new life.

In intimate conversations, men and women talk about children they lost or never had, about menstruation and sexuality. A touching dialogue between the artist and the director reveals their personal motives for taking up this subject. Antje Stamer. Carmen Losmann was born in Crailsheim, Baden-Wuerttemberg, in Aus diesem Film kommt man zu Eis erstarrt heraus. Work: people who are no more than human capital behind shining panels where no personal coffee cup please go to the Coffee Point for this is left the non-territorial workplace.

Futuristic buildings in which nothing is meant to look like work and where human resources deliver task-oriented performances at meeting points, after having been informed by the management of their daily key performance indicators, adjusted to their skill set and the team code previously: roll call. Carmen Losman competently illustrates a rather abstract subject with precisely chosen camera positions, in settings that look as cool and contrived as the world they describe, with a soundtrack where the permanent management speak is rarely interrupted by Industrial Electronic Sounds or occasionally turned off.

You leave this film frozen to the core. But if joy had been the subject, the film would not have gotten more than a measly three on the management assessment scale. Swiss filmmaker Heidi Specogna was born in Biel in A trained journalist, she studied at the German Film and Television Academy, Berlin, from to If they are successful, warmongers and dictators everywhere can no longer feel safe. Towards the end of , the Congolese commander is supposed to have given his militias carte blanche to kill, pillage and rape in the Central African Republic.

Deliberately sober in format, the film gradually unfolds the Sisyphus work of the prosecution and the personal motivations and strategies of coping of the people behind the institution. Upon his graduation from high school Sebastian Mez, born in Essen in , gained work experience during an internship at a film production company, making several social spots and short films. Filmography Selection : Remember How to Fly Die meisten von ihnen aber enden in ein und derselben Falle.

Ihrer Papiere beraubt, in Kellern festgehalten und vergewaltigt, werden sie zur Prostitution gezwungen. Gerade der intime Duktus der Texte wird zur Zwiesprache mit dem Zuschauer, der sich all dieser Scham, der Reue und den Selbstrechtfertigungen nur schwer entziehen kann. Love or hope, naivety or poverty — there are many reasons why young Eastern European women leave their homes. Most of them end up in the same trap, though.


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Robbed of their IDs, locked up and raped in cellars, they are forced into prostitution. Still a roaring trade. Sometimes the only ray of hope in this miserable existence is to get off the street, work in a brothel at least. How do you approach this milieu ruled by fear and anonymity as a documentary filmmaker? Sebastian Mez, a student at the Ludwigsburg Film Academy, devised a clever stratagem — a kind of cinematic answer to the non-representable: three exemplary fates of women from the Czech Republic, Hungary and Romania are told by means of the letters they wrote to their last confidants or children at home.

One wish above all comes up again and again: that all this will just be over. The series of carefully framed images casting terse looks at hotel rooms and the drab aesthetics of red light container interiors coalesce into a maelstrom of mild shocks. Artist and filmmaker Antje Engelmann was born in Ulm in Besides her artistic work she has directed several short films and lectures European Media Studies in a cooperative project between the University and the University of Applied Sciences Potsdam.

Das Licht kommt aus der Lausitz For example when she skipped across the dance floor with braids pinned up and in traditional costume. Born in Ulm in , Antje Engelmann grew up in the tradition-conscious culture of the Danube Swabians. Her greatgrandparents were Hungarian Germans driven from their home after the war. For Engelmann, home is therefore not a place, but an act. And so the search for traces of the Danube Swabian idea of home takes the Berlin-based artist not just to Ulm, Hungary and Brazil, but also demands a huge effort in dealing with customs, values and memory patterns.

Guided by an urgent need for her own point of view, the searcher wavers between attraction and repulsion and finds an adequate narrative form for this. All this is accompanied by Danube Swabian folk music, comments and philosophical musings. A contemplative and amusing film. Martin Gerner, born in , is a freelance writer, filmmaker and journalist from Cologne. Apart from his journalistic work he also acts as an instructor for several media NGOs. Was in aller Welt haben wir dort nur verloren? Keine dieser Fragen wird beantwortet. Zwischen mutigen Frauen, die eine Radiostation betreiben, und den starren Regeln der patriarchalischen Herrschaft.

So wie alle Versuche scheitern, dieser Gesellschaft eine ihr fremde Ordnung aufzuzwingen. What in the world are we doing there? On the other hand: can we, may we leave the young Afghan men and women introduced in this loosely episodic film alone? Neither question is answered. Instead we follow with mounting tension the contradictions between the desires of young Afghans and the old social order. Between courageous women who run a radio station and the rigid rules of patriarchy.

Between artists who shoot a romance movie and a harsh moral code that calls even a kiss on the screen un-Islamic. We hear that in Afghanistan lovers always fail. Just like all attempts to impose a foreign order on this society. Katharina Pethke was born in Hamburg in In she graduated with distinction. Ein Mensch, der anders als die Mehrheit kommuniziert, denkt auch jenseits der Konvention. Ein kluger Gedanke angesichts dessen, in welchem Zustand sich unser Planet befindet.

Louisa teaches us that hearing is much more than just the acoustic perception of sounds and language. She is 23 when tests show a total failure of her hearing organs. For her this is not a disaster but rather an occasion to take a decision. Modern medicine could restore her hearing by means of an operation. But Louisa is averse to what is celebrated as progress.

Does she want this operation with all its risks? Filmmaker Katharina Pethke makes us experience the wealth of our sensual perceptions. You can experience music physically in the vibration of space, understand by reading lips and talk by using sign language. Images and sounds are uncoupled in a way that is neither artificially nor obtrusively coy. A person who communicates differently to the majority also thinks outside of conventions.

A clever idea in view of the state of our planet. Before entering the documentary film department at the Baden-Wuerttemberg Film Academy, Ludwigsburg, in he spent internships at various film production companies. Stevens Frau leidet an einer geheimnisvollen mentalen Krankheit, die nur durch den massiven Einsatz von Medikamenten in Schach gehalten wird. Nein, das Leben ist nicht einfach. In Extension 11, one of the countless districts of the township of Mamelodi, Pretoria, all hell breaks loose.

A big term for the little kiosk that feeds his family. Another burden. But Steven steadfastly pursues his plan. In one of the most beautiful scenes of this very intimate portrait of a family Steven sings the song about the boss while he serves his customers. Everything is better than working for the man. An insight that is true whatever the colour of your skin is.

Author and director Sobo Swobodnik, currently based in Berlin, was born in and grew up on the Swabian Alb. A trained actor, he worked as a stage director for various German theatres and as a broadcast editor. Frucade or advocaat? He shuffles ponderously, humpbacked and kilos lighter through his messy flat. Sobo Swobodnik observes Phettberg in the drab lowlands of his everyday life, a man whose body has ceased to obey him. The lonely hours belong to his diary, which he puts online every day.

A marginal existence who once managed to entertain the people but now pays the price for his addictions and sublimations. Swobodnik depicts this state of uncertainty between wanting to live and having to die in a striking and radical passion play in black and white. Hannes Lang, born in Brixen, South Tyrol, in , grew up in the mountains. A trained carpenter and design draughtsman he worked for some time as a production assistant in a film production company before enrolling at the Academy of Media Arts Cologne in Filmography Selection : St.

Diese Alpen aber, so macht uns Hannes Lang schmerzhaft deutlich, gibt es nicht mehr. Nur ein paar Alte sind geblieben. Die Jungen sind weg, bei den Liften und Schneefabriken. Wer wollte es ihm verdenken? The Alps are a symbol of home for us, their unshakeable, snow-covered summits defying the ages, conquered only by the likes of Luis Trenker and Reinhold Messner, if at all. We see pictures of the relentless advance of technology, often filmed from above, which clearly show the extent of destruction: skiing areas that cut into the mountains like industrial complexes complete with huge snow factories linked online with headquarters in Israel!

Ski-lifts, surge to a Fordist beat, and crowds of people that evoke the Tokyo Metro. Concrete as far as the eye can see, futuristic resorts where nature used to be, party noises where silence used to reign. Silence can be found only in summer, when the tourist developments turn into abandoned ghost towns set in a residue of nature that has no life of its own any more. In contrast, former cultivated landscapes turn back into forests in deserted Ticino valleys. Lang shows the end of an alpine agriculture in which man lived in harmony with nature. While the camera records only crowds and long shots in the skiing areas, here it discovers the individual, endlessly carrying a bag through the mountains.

Only a few old people are left. The young are gone, to the ski-lifts and snow factories. Even the glacier is withdrawing, and who can blame it? Bernhard Sallmann, born in in Linz, Austria, studied communication science, German language and literature studies and sociology in Salzburg and Berlin diploma in He has lectured at universities in Kiel, Karlsruhe and Potsdam and published several essays. Die sachliche Art der Schilderung nimmt den Momentaufnahmen nicht ihren Schrecken.

Die Kamera fokussiert sich derweil auf die vorbeirasenden Autos. Bernhard Sallmann was born in and grew up in the Upper Austrian Alps. Or can memorial stones and cemeteries replace memories? Where does turning a blind eye stop and guilt begin? The factual tone of the narrative cannot take the horror out of these snapshots. The camera meanwhile focuses on the cars racing by. Carolin Schmitz was born in Wiesbaden in Richtig so. Ein solcher Film muss wehtun. Who does not want to spend life in beauty?

Carolin Schmitz shows people whose purpose in life is the production of beauty, doctors as well as their objects. By refusing largely to empathise with her protagonists, the director pushes the boundaries of documentary filmmaking and leaves room for controversy. Well done. This kind of film must hurt. Klaus Stern, born in Ziegenhain, Northern Hesse, in , learned postman before enrolling at Kassel University to study business and economics education and political science.

Since he has been lecturing at Kassel School of Art. War da nicht was? Zu besichtigen ist hier der Arbeitsalltag einer Vertriebssekte, der auf Erfolg programmiert ist und sich am Ende selbst verschlingt. Nein, wir haben keine Fragen mehr. Oh yes, the Hamburg-Mannheimer insurance company and the white ribbons around the wrists of the ladies reserved for the top management in the Budapest open air brothel.

Just another media event with lots of hot air, because the public learned next to nothing about the practices of insurance companies. But the film is more than just the portrait of a greedy climber who falls for his own image. We also learn something about the health business. We hear that every reform of the health system brings bigger profits for the private insurance companies.

No more questions. Britt Beyer, born in Kayna, Sachsen-Anhalt, in , studied German language and literature studies and history at Leipzig University until Was ist typisch deutsch? Kann als integriert gelten, wer ab 20 Uhr die Musik leise dreht? Und ist automatisch nicht integriert, wer zu Hause arabisch oder chinesisch spricht statt deutsch? What is typically German? Can someone who turns the music down after 8 p.

And is someone who speaks Arab or Chinese instead of German at home automatically not integrated? The strenuous appropriation of the own by the other or vice versa generates an image of German identity one might not wish to see in the mirror. Precise observations of situations in class or in the everyday life of the participants are complemented by biographical forays into their family backgrounds and stories.

A postgraduate in media and communication studies, K. Manoj, born in Thiruvananthapuram in , initially worked as a journalist. Filmography: 16mm-Memories, Movement and a Machine Dabei arbeitet der Film detektivisch genau. Keine Frage. Dieser Regisseur ist zornig. Imagine a North-South Intercity train commonly called Cancer IC because the majority of the passengers have precisely this disease and can buy cheap medication only in the South.

The cancer train leaves every Monday. Its passengers are rural workers who were exposed to highly toxic chemicals and pesticides for years. The film works with the precision of an investigator. Like a pest control officer who changed sides and now looks up, to the top management floors. The demand for justice for the victims, the naming of those responsible, the questioning of political contexts form the credible and authentic basis for the introduction of a further, more philosophical dimension: the issue of the relationship between technology and death.

Which in turns leads to the question what exactly a pest is? And this brings us to one of the lasting images of this exceptionally precise film: the serene attitude of a roach sitting in front of a huge plasma television screen and watching the mundane goings-on there. No doubt about it, this director is angry. An der Hausmauer ein paar Schilder.

Ein Restaurant Lampions. Eine Parzelle Christdemokratische Partei. Zerfetzte Wahlplakate. Und das, was sie tun, weil sie es schon immer getan haben, schon gar nicht. So sitzen sie einfach da und warten. Leere Tische allenthalben. Jeder steckt in Schulden, die aus heiterem Himmel kommen. Zu heilen ist hier nichts mehr. The barking of dogs initiates the cinematic inspection of a microcosm: a run-down three-storey house in the west Georgian city of Chokhatauri. A few signs on the walls. A restaurant Chinese lanterns.

A small plot Christian Democratic Party. Torn campaign posters. So they just sit and wait. Empty tables everywhere. A child practices karaoke and provides an element of post-modern kitsch patriotism. Everyone is in debts that came out of the blue. There is nothing left to be cured.

Barbara Wurm. Res Balzli was born the son of a dialect poet in in Bern. Wir reisen in diesem Leben entlang einer Zeitlinie, an deren fernem, unwirklichem Ende ein schwarzes Loch auf uns wartet. Sie ist erst 33, ihr Zeitbudget noch lange nicht aufgebraucht, ihre Kinder noch ungeboren. Leider nicht. Bouton ist eine fransige, butterblumengelbe Handpuppe, mit der Johana die letzten zehn Jahre als Bauchrednerin aufgetreten ist.

Im wirklichen Leben ist er Johanas Vertrauter, ihr magisches Alter Ego, neugierig, witzig, ironisch und wahrhaftig. Solange es Bouton gibt, solange gibt es Leben und damit Hoffnung. Die Schauspielerin Johana Bory starb am In this life we are travelling along a timeline at whose distant, unreal end a black hole is waiting for us.

This is the order of things we trust, even if we suppress the awareness of death as much as possible. This order has been upset for Johana, the protagonist of this moving film about the desire for more life. She is only 33, her time budget still full, her children still unborn. Maybe life is just playing a trick on me to wake me up she tells herself when she is diagnosed with cancer.

Bouton knows better. Bouton is the fringed, buttercup-yellow hand puppet Johana used for ten years in her ventriloquist performances. Bouton is a little grumpy, a little selfish, a little naive. While Bouton exists, there is life and thus hope. The actress Johana Bory died on 15 March Bram Van Paesschen was born in Vilvoorde, Belgium, in Until he studied film and video at Sint-Lukas Academie, Brussels, specializing on documentary.

At the academy he made some short films, experimenting with essayistic and fake documentary elements. He is currently working as a director and editor in Brussels. Doch am Ende entdeckt auch Yang, der kleine Mann, wie ihn Eddy heimlich nennt, was noch jeder Besucher Afrikas entdeckt hat: dass das Leben gelebt sein will, und nicht das Geld. So much for politics. As usual, the employees are paying the bill, in this case Lao Yang, the Chinese site manager, and Eddy, his translator from Kinshasa. At the end even Yang, the little man, as Eddy secretly calls him, discovers what every visitor to Africa discovered before him: that life is for living and not for money.

Tamar Tal was born in Tel Aviv in She graduated from the photography department at the Camera Obscura School of Art in her home town. Man kann es nicht anders sagen: Miriam Weissenstein ist eine Institution in Tel Aviv und im Leben aller, die mit ihr zu tun haben, besonders ihres Enkels Ben. Jede der oft wiederkehrenden Einstellungen ist sorgsam, ja liebevoll gerahmt. He has taken over the photo studio of his grandparents, who recorded the building of the young state of Israel from the beginning, in pictures celebrated across the world today.

Each of the often repeated shots is carefully, even lovingly framed. As if the pictures were meant to remind us that we must go forward — no matter how much the past weighs us down. Ellen Ugelstad was born in Norway in She studied philosophy and social anthropology at the University of Oslo. Relocating to California for seven years, she attended photography and film classes at the Academy of Art University, San Francisco, graduating with honors. Her photographic work is shown widely across Norway and the United States.

Ein Indianer wollte er sein. Mit der Natur leben, frei. Eine Wohnung haben, ein eigenes Leben. He wanted to be an Indian, live in the wild, be free. It also shows how helpless friends, family and even Torstein are in the face of the disease and how unable to cope with the situation on their own. The director manages the difficult feat of telling the story without mawkishness.

Exploring the borders between theatre, film, the visual arts and music, she has created a series of theatre productions, short films and video installations, often reenacting dramatic documentary realities within a philosophical framework. Maria Mok was born in Haarlemmermeer in Since she has been writing numerous scenarios for documentary films. Sie ist ein rastloser Kosmopolit, so frei wie entwurzelt, immer auf der Suche nach dem inneren Zuhause. Menschen, die durchs Leben fliegen, faszinieren jene, die am Boden bleiben. OG is a black beauty from Zimbabwe, a dancer and party queen who has lovers in every corner of the globe.

She is a restless cosmopolitan, both free and uprooted, always looking for an inner home. OG is the intimate and at the same time distant friend of film and theatre director Carina Molier and the tangible centre of this intricate film about wanderlust, lifestyles and the feeling of being at home. People who fly through life fascinate those who stay on the ground.

While he worked in India, his wife and kids stayed behind in the Netherlands. She lives in Amsterdam with her daughter, while people like OG stride through life in a state of rapture. Accompanied by a restless Electronica score, OG enjoys the camera like a stage and infuses the film with a magical allure. He has been directing commercials, music videos and TV programmes. Unter ihnen Ilan und Saran. Ilan, so seltsam naiv und weltverloren, hat es aus Israel hierher verschlagen.

Auf der Saran, seine kambodschanische Freundin und Mutter der gemeinsamen Tochter, trinkt zuviel. Auf der einen Seite der permanente Krisenzustand des Paares. Boom Boom. Aber wie soll der bettelarme Ilan ein zweites Kind durchbringen? Just life. Vietnamese prostitutes, child junkies, rats and street vendors. Among them are Ilan and Saran. Ilan, oddly naive and dreamy, came from Israel. At 51st street, he reads Tarot Cards for the tourists. Saran, his Cambodian girl-friend and the mother of their daughter, drinks too much. What starts out as a portrait of marginal existences grows into a great narrative of the tragedy and inscrutability of human relationships.

On the one hand the couple in their permanent state of crisis; there is hardly any space for tender moments. On the other hand the grainy black and white candid shots of pimps offering the tourists children for sex. Boom boom. But how can the destitute Ilan feed a second child? No chronology, no niche for the viewer to withdraw to, no beautiful images. Atousa Bandeh Ghiasabadi, born in Tehran in , earned a degree in physics at the local Azad University — In she moved to the Netherlands to do graduate studies in astronomy physics at Groningen University. Turning to fine arts, she went on to study painting at Minverva Art Academy, Groningen, — and film and video at Sandberg Institute, Amsterdam — , graduating with an MFA.

Lately, she is focussing on drawings, video works and filmmaking. Ghiasabadis Geschichte ist die von vielen und dennoch ihre ganz eigene Odyssee, die nicht nur eine illegale und gefahrvolle Reise von einem Kontinent zu einem anderen meint. Emigration bedeutet nicht Ankunft, sondern vor allem Abschied. In her opening sequence the Iranian filmmaker Atousa Bandeh Ghiasabadi depicts a picturesque landscape full of almond blossom trees, a cut barbed-wire fence drifting in the wind and a dreary backyard in some anonymous city — the chronological stations of her escape from Tehran to Europe.

Kept together by a hubbub of childhood memories, letters and an interior monologue, these snapshots are the starting point of an overflowing essay which increasingly moves away from real events to depict soul landscapes that are all about foreignness. Emigration is not about arrival, but about farewell. Wistfully she reconstructs every step that leads to alienation — from her family, her language and her culture. The West has another word for it: exotic. She, the foreigner, can now only be identified by her fingerprint.

Ghiasabadi pulls out all the stops as she turns this very private narrative into cinematic entertainment: she stages, invents an alter ego, uses surprising metaphors and spares no poetry to make her reflections manifest. Subsequently, she worked as a freelance producer in the field of television and film, currently holding the position of full time documentary director at the Finnish National Broadcasting Company YLE. After the genocide in he returned with his family to his home country Rwanda. Jeder in diesem Land hat seine eigene Art des Umgangs mit dem Unfassbaren.

In einer Schule lernen Kinder, was ein Genozid ist. Doch auch hier blitzt immer wieder Hoffnung auf. Weil es weitergeht — irgendwie. Loosely linked impressions of people who mourn, cope, suppress and continue to live in spite of everything. Everybody in this country has their own way of coping with the inconceivable. Survivors shout out their grief in an evening service. A young man in the nocturnal street claims he is glad to have no more emotions. A woman with amputated legs rediscovers her smile while dancing in a church.

Children at school learn what genocide is. But even here there are rays of hope. Because things continue — somehow. French filmmaker Swann Dubus, born in Argenteuil in , is currently based in Hanoi. Ville Tran Phuong Thao was born in in Hanoi where she studied foreign trade and interpretation. Filmography: Dream Workers Dien Bien ist eine Region auf Droge.

An AIDS zu sterben, ist gespenstisch normal. Sie lungern mit ihren Motorrollern in der Stadt herum oder liegen daheim lethargisch auf dem Bett. The province of Dien Bien lies in the extreme Northwest of Vietnam. Peace rules among the rich green of the rice paddies and mountains — and addiction. Dien Bien is a junkie region. The men have been on the needle ever since opium was banned in the s. This border region lies along the main heroin route between China and Laos. They hang around the town on their motor scooters or lie lethargically on their beds all day.

Unlike the women, who take their men by the hand, organise their struggle against HIV and defy their misery with cheerfulness. A quietly observant film whose steady camera follows two addicts through their days. The quiet sympathetic tone of this film will stay with the viewer for a long time. Upon his graduation from the University of Edinburgh in Bachelor of Commerce he gave in to his interest for documentary cinema and subsequently learned the craft in diverse courses and workshops. Since he has directed several documentary short films.

She graduated in audiovisual communication at Complutense University, Madrid, and subsequently studied filmmaking. In addition to her documentary work she produces audiovisual translations for the Spanish National Filmhouse. Filmography: Ground Level Held hin oder her. Dass sich irgendjemand in der Verwaltung ihrer erbarmt und ihnen Papiere gibt. Um Geld zu verdienen. Seit nunmehr 18 Monaten. Weshalb ihre Botschaft auch lautet: nicht emigrieren. Jedenfalls nicht illegal. Den falschen Versprechungen nicht glauben. Mehr bleibt nicht zu sagen.

The hero of the ballad was a knight of great bravery, popularly believed to be John Scott, sixth son of the Laird of Harden. According to history, he met a treacherous and untimely death in Ettrick Forest at the hands of his kin, the Scotts of Gilmanscleugh in the seventeenth century. However, recent scholars are sceptical about this story as the origin of the song. To equip, prepare, make ready. To adorn, to deck, dress up. Of people: tall. Comment At The Ball Game The crowd at the ball game is moved uniformly by a spirit of uselessness which delights them -- all the exciting detail of the chase and the escape, the error the flash of genius Comment Not Waving But Drowning Nobody heard him, the dead man, But still he lay moaning: I was much further out than you thought And not waving but drowning.

All the poet has to do is listen. The poet is not an important fellow. There will always be another poet. Comment The Bonnie Broukit Bairn Mars is braw in crammasy, Venus in a green silk goun, The auld mune shak's her gowden feathers, Their starry talk's a wheen o' blethers, Nane for thee a thochtie sparin', Earth, thou bonnie broukit bairn! Comment Hugh MacDiarmid When he speaks a small sentence he is a man who presses a plunger that will blow the face off a cliff. Or he dynamites a ramshackle idea--when the dust settles, what structures shine in the sun.

Comment Die Gedanken sind frei Fassung um 1. Es bleibet dabei: Die Gedanken sind frei. Die Gedanken sind frei Wer kann sie erraten? Die Gedanken sind frei. Comment Atlantis--A Lost Sonnet How on earth did it happen, I used to wonder that a whole city--arches, pillars, colonnades, not to mention vehicles and animals--had all one fine day gone under? And so, in the best traditions of where we come from, they gave their sorrow a name and drowned it.

Comment Phillipp: Ja, die schottische und irische Dichtung ist bisher zu kurz gekommen. Die zweite Strophe sollte eigentlich so anfangen:. There seems a bright and fairy spell About their very names to dwell; And though old Time has mark'd my brow With care and thought, I love them now. Chaostranslater: Several critics, both Kilmer's contemporaries and modern scholars, disparaged Kilmer's work as being too simple, overly sentimental, and suggested that his style was far too traditional, even archaic. Stevie Smith kannte ich noch nicht. Die Haltung, die sie in ihren Gedichten einnimmt, ist recht eigenwillig und originell.

It is a human face that hides A monkey soul within, That bangs about, that beats a gong, That makes a horrid din. Sometimes the monkey soul will sprawl Athwart the human eyes, And peering forth, will flesh its pads, And utter social lies. Reprinted by permission of New Directions Publishing Corporation. Comment A Wasted Illness Through vaults of pain, Enribbed and wrought with groins of ghastliness, I passed, and garish spectres moved my brain To dire distress.

Thereon ahead I saw a door extend - The door to death. And yet Those backward steps through pain I cannot view Without regret. Thomas Hardy 2 June — 11 January After years of writing novels to earn his living — novels which contain seams of poetry, but in which he felt constrained to work to the demands of the market — poetry came to him as a relief and a pleasure. Extract from intro: Poems of Thomas Hardy. Selected and Introduced by Claire Tomalin, which does not include the above poem.

Sie sagten: "Du hast eine blaue Gitarre, Du spielst die Dinge nicht, wie sie sind. Doch endlich kamen sie einander in die Haare, Und ihre Republik versank in Anarchie. Ha, rief das arme Volk mit tiefgesenkten Ohren Und mit geschundner Haut, was haben wir getan! Gottlieb Konrad Pfeffel: Satiriker und Philanthrop, All things counter, original, spare, strange; ::Whatever is fickle, freckled who knows how? Juni in Dublin war ein britischer Lyriker und Jesuit, dessen Gedichte vor allem wegen der Lebendigkeit ihres Ausdrucks bewundert werden. The day was green. They said, "You have a blue guitar, You do not play things as they are.

Wallace Stevens. Then Napoleon took over the plan to build the mill.

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While the animals starved and slaved under the slogan, "I will work harder," the pigs moved into Jones's farmhouse, and the glorification of the Leader as Comrade Napoleon was now called became systematic. Hens were sometimes heard to say: "Under the guidance of our Leader, Comrade Napoleon, I have laid five eggs in six days.

Fountain of happiness! Lord of the swill-bucket! Thou art the giver of All that thy creature love, Full belly twice a day, clean straw to roll upon; Every beast great or small Sleeps at peace in his stall, Thou watchest over all, Comrade Napoleon! George Orwell — The Seven Commandments 1. Whatever goes upon two legs is an enemy. Whatever goes upon four legs, or has wings, is a friend. No animal shall wear clothes. No animal shall sleep in a bed. No animal shall drink alcohol.

No animal shall kill any other animal. All animals are equal. Comment A Marriage We met under a shower of bird-notes. Fifty years passed, love's moment And she, who in life had done everything with a bird's grace, opened her bill now for the shedding of one sigh no heavier than a feather. Thomas , walisischer Lyriker, der auf englisch schrieb. Seine kurze Autobiographie verfasste er auf Walisisch. You make it for yourself firstly, and then if other people want to join in then there we are.

Comment Friendship A ruddy drop of manly blood The surging sea outweighs, The world uncertain comes and goes; The lover rooted stays. I fancied he was fled,- And, after many a year, Glowed unexhausted kindliness, Like daily sunrise there. My careful heart was free again, O friend, my bosom said, Through thee alone the sky is arched, Through thee the rose is red; All things through thee take nobler form, And look beyond the earth, The mill-round of our fate appears A sun-path in thy worth.

Me too thy nobleness had taught To master my despair; The fountains of my hidden life Are through thy friendship fair. I know your lust Is love.

The poetry corner - Vol. 2

Sceptic Thomas! Now, do you doubt that your Bird was true? Emily Dickinson , konnte ich mir nach nicht verkneifen Is the blue changed above thee, O world! Will you change every flower that grows, Or only change this spot, Where she who said, I love thee, Now says, I love thee not? The skies seemed true above thee, The rose true on the tree; The bird seemed true the summer through, But all proved false to me.

Zweifelnder Thomas! Echt war dein Vogel, fragst du nun noch? John Clare 13 July — 20 May was an English poet, born in Helpston, Northamptonshire, the son of a farm labourer who came to be known for his celebratory representations of the English countryside and his lamentation of its disruption. In summer quite the other way, I have to go to bed by day, I have to go to bed and see The birds still hopping on the tree, Or hear the grown up people's feet Still going past me in the street, And does it not seem hard to you, When all the sky is clear and blue, And I should like so much to play, To have to go to bed by day?

Robert Louis Stevenson —94, Scottish novelist, poet, and essayist,. Comment The Invitation It doesn't interest me what you do for a living. I want to know what you ache for, and if you dare to dream of meeting your heart's longing. It doesn't interest me how old you are. I want to know if you will risk looking like a fool for love, for your dreams, for the adventure of being alive.

It doesn't interest me what planets are squaring your moon. I want to know if you have touched the center of your own sorrow. If you have been opened by life's betrayals or have become shriveled and closed from fear of further pain! I want to know if you can sit with pain, mine or your own, without moving to hide it or fade it or fix it.

I want to know if you can be with JOY, mine or your own; If you can dance with wildness and let the ecstacy fill you to the tips of your fingers and toes without cautioning us to be careful, be realistic, or to remember the limitations of being a human. It doesn't interest me if the story you're telling me is true. Soon, a bronze Adonis — ogling girls! It must be done!

You will realise What a position it puts Me in. I couldn't really Have died for you if so I were inclined. The carn Foxglove here on the wall Outside your first house Leans with me standing In the Zennor wind. Anyhow how are things? Are you still somewhere With your long legs And twitching smile under Your blue hat walking Across a place? Or am I greedy to make you up Again out of memory? Graham , Graham was born in Greenock, Scotland. His first book, Cage Without Grievance was published in Er hat's begangen, Er hat's vollbracht! Er baute Tempel Dem Teufel selbst! Er hat's begangen, Er ist erkannt!

Er ist ein Satan, Die Maske fiel! Sie singen laut ihm Triumph, Triumph! Doch ach, es graut ihm, Wie sehr sie dudeln!

Werner Zurfluh - Quellen der Nacht

Harpy'n besudeln Gesalbtes Haupt. August von Platen , Aus den "Polenliedern". Bett stinkt bei Bett. Komm, hebe ruhig diese Decke auf. Das Fleisch ist weich und schmerzt nicht. Gottfried Benn - gilt als einer der bedeutendsten deutschen Dichter der literarischen Moderne. Comment Oh ja, ein paar deutschsprachige Lyriker dazu ist auch nicht schlecht. Comment Und wie lautet der Titel zu diesem Gedicht, Phillipp?

Erscheint auf S. Die letzten zwei Zeilen sind gut. Aber dann wie kann es ja anders sein? Aber wie gesagt: Danke! Comment Der alte Lear will abtreten. Cordelia: Then poor Cordelia! Cordelia: Nothing, my lord. Lear: Nothing? Cordelia: Nothing. Lear: Nothing will come of nothing: speak again. Lear: How, how, Cordelia!

Mend your speech a little, Lest you may mar your fortunes. Why have my sisters husbands, if they say They love you all? Happily, when I shall wed, That lord whose hand must take my plight shall carry Half my love with him, half my care and duty: Sure I shall never marry like my sisters, To love my father all.

Lear: But goes thy heart with this? Cordelia: Ay, my good Lord. Lear: So young, and so untender? Cordelia: So young, my Lord, and true. Lear: Let it be so; thy truth then be thy dower: For, by the sacred radiance of the sun, The mysteries of Hecate, and the night; By all the operation of the orbs From whom we do exist, and cease to be; Here I disclaim all my paternal care, Propinquity and property of blood, And as a stranger to my heart and me Hold thee, from this, for ever.

The barbarous Scythian, Or he that makes his generation messes To gorge his appetite, shall to my bosom Be as well neighbour'd, pitied, and relieved, As thou my sometime daughter. Comment Furcht der Geliebten Cidli, du weinest, und ich schlumre sicher, Wo im Sande der Weg verzogen fortschleicht; Auch wenn stille Nacht ihn umschattend decket, Schlumr' ich ihn sicher. Weine nicht, Cidli. Inhalt und Form decken sich auch vollkommen. Er war ein junger Schmetterling, Der selig an der Blume hing.

Ach Gott, wie das dem Schmetterling So schmerzlich durch die Seele ging. Doch was am meisten ihn entsetzt, Das Allerschlimmste kam zuletzt. Wilhelm Busch - Comment Klasse!! Die Kraft, infolge der Erregung, Verwandelt sich in Schwungbewegung. Bewegung, die in schnellem Blitze Zur Backe eilt, wird hier zu Hitze. Comment Danke, Chaostranslater. Es lohnt sich, den "einflussreichsten humoristischen Dichter und Zeichner Deutschlands" Wikip.

Hier noch ein weiteres Gedichtchen: Wirklich, er war unentbehrlich! Ohne ihn war nichts zu machen, Keine Stunde hatt' er frei. Gestern, als sie ihn begruben, War er richtig auch dabei. Wilhelm Busch aus: Kritik des Herzens Comment Seine Lyrik zeichnet sich durch eine einfache, die Nachkriegsgesellschaft in ihrer ideellen Leere spiegelnde Sprache aus, die beim Leser dennoch komplexe Assoziationen und Bilder evoziert. There's sound of distant thunder. The latest sea-birds hover Along the cliff's sheer height; As in the memory wander Last flutterings of delight, White wings lost on the white.

There's not a ship in sight; And as the sun goes under, Thick clouds conspire to cover The moon that should rise yonder. Thou art alone, fond lover. Robert Seymour Bridges — Detlev von Liliencron - Sie aalt sich im Sand und zeigt alles her. Sie gibt der Sonne reichlich zu schaun. Aber zum 4. Todestag gest. Juni , konnte ich einfach nicht widerstehen. Summer's heat can swelter and melt As summer's heat may simmer as weld. Some summer's heat can burn as long This summer's heat can impel a song. Summer's heat can cook and bake Summer's heat of life can take.

Boil and broil a heart so hot Comment At the Fishhouses Although it is a cold evening, down by one of the fishhouses an old man sits netting, his net, in the gloaming almost invisible, a dark purple-brown, and his shuttle worn and polished. The air smells so strong of codfish it makes one's nose run and one's eyes water. The five fishhouses have steeply peaked roofs and narrow, cleated gangplanks slant up to storerooms in the gables for the wheelbarrows to be pushed up and down on.

All is silver: the heavy surface of the sea, swelling slowly as if considering spilling over, is opaque, but the silver of the benches, the lobster pots, and masts, scattered among the wild jagged rocks, is of an apparent translucence like the small old buildings with an emerald moss growing on their shoreward walls. The big fish tubs are completely lined with layers of beautiful herring scales The water seems suspended above the rounded gray and blue-gray stones. I have seen it over and over, the same sea, the same, slightly, indifferently swinging above the stones, icily free above the stones, above the stones and then the world.

If you should dip your hand in, your wrist would ache immediately, your bones would begin to ache and your hand would burn as if the water were a transmutation of fire that feeds on stones and burns with a dark gray flame. If you tasted it, it would first taste bitter, then briny, then surely burn your tongue. It is like what we imagine knowledge to be: dark, salt, clear, moving, utterly free, drawn from the cold hard mouth of the world, derived from the rocky breasts forever, flowing and drawn, and since our knowledge is historical, flowing, and flown.

The population numbered two giants, an idiot, a dwarf, a gentle storekeeper asleep behind his counter, and our kind landlady— the dwarf was her dressmaker. The idiot could be beguiled by picking blackberries, but then threw them away. The shrunken seamstress smiled. He was morose, but she was cheerful. The bedroom was cold, the feather bed close. We were awakened in the dark by the somnambulist brook nearing the sea, still dreaming audibly.

Comment ich was not yet in brasilien nach brasilien wuld ich laik du go wer de wimen arr so ander so quait ander denn anderwo ich was not yet in brasilien nach brasilien wuld ich laik du go als ich anderschdehn mange lanquidsch will ich anderschdehn auch lanquidsch in rioo Juli , S.

Comment Between the Dusk of a Summer Night Between the dusk of a summer night And the dawn of a summer day, We caught at a mood as it passed in flight, And we bade it stoop and stay. And what with the dawn of night began With the dusk of day was done; For that is the way of woman and man, When a hazard has made them one. Arc upon arc, from shade to shine, The World went thundering free; And what was his errand but hers and mine -- The lords of him, I and she?

O, it's die we must, but it's live we can, And the marvel of earth and sun Is all for the joy of woman and man And the longing that makes them one. Comment Innerlichkeit, Paarreime und Katharsis einer Leserin The More Loving One Looking up at the stars, I know quite well That, for all they care, I can go to hell, But on earth indifference is the least We have to dread from man or beast. How should we like it were stars to burn With a passion for us we could not return?

If equal affection cannot be, Let the more loving one be me. Were all stars to disappear or die, I should learn to look at an empty sky And feel its total dark sublime, Though this might take me a little time. Comment The Sons of Martha The Sons of Mary seldom bother, for they have inherited that good part; But the Sons of Martha favour their Mother of the careful soul and the troubled heart.

And because she lost her temper once, and because she was rude to the Lord her Guest, Her Sons must wait upon Mary's Sons, world without end, reprieve, or rest. It is their care in all the ages to take the buffet and cushion the shock. It is their care that the gear engages; it is their care that the switches lock. It is their care that the wheels run truly; it is their care to embark and entrain, Tally, transport, and deliver duly the Sons of Mary by land and main.

They say to mountains, 'Be ye removed. Then do the hill-tops shake to the summit -- then is the bed of the deep laid bare, That the Sons of Mary may overcome it, pleasantly sleeping and unaware. They finger death at their gloves' end where they piece and repiece the living wires. He rears against the gates they tend: they feed him hungry behind their fires. Early at dawn, ere men see clear, they stumble into his terrible stall, And hale him forth like a haltered steer, and goad and turn him till evenfall.

To these from birth is Belief forbidden; from these till death is Relief afar. They are concerned with matters hidden -- under the earthline their altars are -- The secret fountains to follow up, waters withdrawn to restore to the mouth, And gather the floods as in a cup, and pour them again at a city's drouth. They do not preach that their God will rouse them a little before the nuts work loose. They do not teach that His Pity allows them to drop their job when they dam'-well choose.

As in the thronged and the lighted ways, so in the dark and the desert they stand, Wary and watchful all their days that their brethren's days may be long in the land. Raise ye the stone or cleave the wood to make a path more fair or flat -- Lo, it is black already with blood some Son of Martha spilled for that! Not as a ladder from earth to Heaven, not as a witness to any creed, But simple service simply given to his own kind in their common need. And the Sons of Mary smile and are blessed -- they know the Angels are on their side. They know in them is the Grace confessed, and for them are the Mercies multiplied.

They sit at the Feet -- they hear the Word -- they see how truly the Promise runs. Rudyard Kipling - April in Brachthausen, Sauerland ist eine deutsche Schriftstellerin. Sie schreibt Lyrik und Romane. Heute lebt sie in Hamburg und ist mit Klaus von Dohnanyi verheiratet. O plain as plain can be There's nothing but our own red blood Can make a right Rose Tree. He also suggests that Ireland would be green again if this conflict stopped and Irish blood has been spilt. Comment Two Months June No hope, no change!

The clouds have shut us in, And through the cloud the sullen Sun strikes down Full on the bosom of the tortured Town, Till Night falls heavy as remembered sin That will not suffer sleep or thought of ease, And, hour on hour, the dry-eyed Moon in spite Glares through the haze and mocks with watery light The torment of the uncomplaining trees. Far off, the Thunder bellows her despair To echoing Earth, thrice parched. The lightnings fly In vain.

No help the heaped-up clouds afford, But wearier weight of burdened, burning air. What truce with Dawn? Look, from the aching sky, Day stalks, a tyrant with a flaming sword! September At dawn there was a murmur in the trees, A ripple on the tank, and in the air Presage of coming coolness -- everywhere A voice of prophecy upon the breeze. Up leapt the Sun and smote the dust to gold, And strove to parch anew the heedless land, All impotently, as a King grown old Wars for the Empire crumbling 'neath his hand.

One after one the lotos-petals fell, Beneath the onslaught of the rebel year, In mutiny against a furious sky; And far-off Winter whispered: -- "It is well! Behold your help is near, "For when men's need is sorest, then come I. Rudyard Kipling fehlte hier noch. Und wie viele andere Leser kannte ich Kipling eigentlich nur vom Dschungelbuch her. Rose of All the World I am here myself; as though this heave of effort At starting other life, fulfilled my own; Rose-leaves that whirl in colour round a core Of seed-specks kindled lately and softly blown By all the blood of the rose-bush into being - Strange, that the urgent will in me, to set My mouth on hers in kisses, and so softly To bring together two strange sparks, beget Another life from our lives, so should send The innermost fire of my own dim soul out-spinning And whirling in blossom of flame and being upon me!

That my completion of manhood should be the beginning Another life from mine! For so it looks. The seed is purpose, blossom accident. The seed is all in all, the blossom lent To crown the triumph of this new descent. Is that it, woman? Does it strike you so? The Great Breath blowing a tiny seed of fire Fans out your petals for excess of flame, Till all your being smokes with fine desire? Or are we kindled, you and I, to be One rose of wonderment upon the tree Of perfect life, and is our possible seed But the residuum of the ecstasy? How will you have it?

The sharp begetting, or the child begot? Our consummation matters, or does it not? To me it seems the seed is just left over From the red rose-flowers' fiery transience; Just orts and slarts; berries that smoulder in the bush Which burnt just now with marvellous immanence. Blossom, my darling, blossom, be a rose Of roses unchidden and purposeless; a rose For rosiness only, without an ulterior motive; For me it is more than enough if the flower unclose. Lawrence — Wie ist die Zeit vertan! Der Port naht mehr und mehr sich zu der Glieder Kahn.

Gleich wie dies Licht verfiel, so wird in wenig Jahren Ich, du, und was man hat, und was man sieht, hinfahren. Dein ewig heller Glanz sei vor und neben mir! Andreas Gryphius - Ich war zornig auf den Feind; schwieg: mein Zorn vermehrte sich. Tiefer neigt sich das Korn, der rote Mohn. Das alte Lied der Grille erstirbt im Feld. Nimmer regt sich das Laub der Kastanie. Auf der Wendeltreppe rauscht dein Kleid. Der wird zur Pflanze, wenn er will, zum Tier, zum Narr, zum Weisen, und kann in einer Stunde durchs ganze Weltall reisen.

Der mit sich selbst in Frieden lebt, der wird genauso sterben, und ist selbst dann lebendiger, als alle seine Erben. Novalis, He becomes the plant if it wants, Or the animal, the fool, or wise man and can travel in an hour through the entire universe. He knows that he nothing knows, Like the others who doesn't know anything But knows what he and the others have to learn about.

Who feels alien shores in himself, and who has courage to stretch himself, to be active he will discover himself, bit by nit and undisturbed of fear. He will look downward to the mountain tops? Who hears butterflies laughing, He knows, how clouds taste, He will discover night in the moonlight undisturbed of fear. He who live in peace with himself, He will also die in peace, And he will be more lively as all his offsprings.

Translation by Novalis 'Novalis' is the name of a German art rock band from the seventies. Comment To a Skylark Hail to thee, blithe spirit! Bird thou never wert- That from heaven or near it Pourest thy full heart In profuse strains of unpremeditated art. Higher still and higher From the earth thou springest, Like a cloud of fire; The blue deep thou wingest, And singing still dost soar, and soaring ever singest. In the golden light'ning Of the sunken sun, O'er which clouds are bright'ning, Thou dost float and run, Like an unbodied joy whose race is just begun.

The pale purple even Melts around thy flight; Like a star of heaven, In the broad daylight Thou art unseen, but yet I hear thy shrill delight- Keen as are the arrows Of that silver sphere Whose intense lamp narrows In the white dawn clear, Until we hardly see, we feel that it is there. All the earth and air With thy voice is loud, As when night is bare, From one lonely cloud The moon rains out her beams, and heaven is overflow'd. What thou art we know not; What is most like thee? Sound of vernal showers On the twinkling grass, Rain-awaken'd flowers- All that ever was Joyous and clear and fresh-thy music doth surpass.

Teach us, sprite or bird, What sweet thoughts are thine: I have never heard Praise of love or wine That panted forth a flood of rapture so divine. Chorus hymeneal, Or triumphal chant, Match'd with thine would be all But an empty vaunt- A thin wherein we feel there is some hidden want. What objects are the fountains Of thy happy strain? What fields, or waves, or mountains? What shapes of sky or plain? What love of thine own kind? With thy clear keen joyance Languor cannot be: Shadow of annoyance Never came near thee: Thou lovest, but ne'er knew love's sad satiety.

Waking or asleep, Thou of death must deem Things more true and deep Than we mortals dream, Or how could thy notes flow in such a crystal stream? We look before and after, And pine for what is not: Our sincerest laughter With some pain is fraught; Our sweetest songs are those that tell of saddest thought. Yet, if we could scorn Hate and pride and fear, If we were things born Not to shed a tear, I know not how thy joy we ever should come near. Better than all measures Of delightful sound, Better than all treasures That in books are found, Thy skill to poet were, thou scorner of the ground!

Teach me half the gladness That thy brain must know; Such harmonious madness From my lips would flow, The world should listen then, as I am listening now. Horst W. Comment On the See It keeps eternal whisperings around Desolate shores, and with its mighty swell Gluts twice ten thousand Caverns, till the spell Of Hecate leaves them their old shadowy sound. Often 'tis in such gentle temper found, That scarcely will the very smallest shell Be moved for days from where it sometime fell.

When last the winds of Heaven were unbound. Oh, ye! Februar in Rom. Nikolaus Lenau , - The leaves unhooked themselves from trees And started all abroad; The dust did scoop itself like hands And throw away the road.


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The wagons quickened on the streets, The thunder hurried slow; The lightning showed a yellow beak, And then a livid claw. The birds put up the bars to nests, The cattle fled to barns; There came one drop of giant rain, And then, as if the hands That held the dams had parted hold, The waters wrecked the sky, But overlooked my father's house, Just quartering a tree. Emily Dickinson — John, in Patmos' Isle, In the passion of his toil, When he saw the churches seven, Golden aisl'd, built up in heaven, Gaz'd at such a rugged wonder.

As I stood its roofing under, Lo! I saw one sleeping there, On the marble cold and bare. While the surges wash'd his feet, And his garments white did beat Drench'd about the sombre rocks, On his neck his well-grown locks, Lifted dry above the main, Were upon the curl again. This was architectur'd thus By the great Oceanus! Many a mortal of these days, Dares to pass our sacred ways, Dares to touch audaciously This Cathedral of the Sea! I have been the pontiff-priest Where the waters never rest, Where a fledgy sea-bird choir Soars for ever; holy fire I have hid from mortal man; Proteus is my Sacristan.

But the dulled eye of mortal Hath pass'd beyond the rocky portal; So for ever will I leave Such a taint, and soon unweave All the magic of the place. Bereits die Wikinger kannten die Insel. Bearbeitungsstand: 4. Juni , UTC. Abgerufen: Juli , UTC. Comment Requiescat Read lightly, she is near Under the snow, Speak gently, she can hear The daisies grow. All her bright golden hair Tarnished with rust, She that was young and fair Fallen to dust.

Lily-like, white as snow, She hardly knew She was a woman, so Sweetly she grew. Coffin-board, heavy stone, Lie on her breast, I vex my heart alone, She is at rest. Peace, peace, she cannot hear Lyre or sonnet, All my life's buried here, Heap earth upon it. Oscar Wilde - Comment Requiescat by Oscar Wilde is a tragic elegy based upon the death of Wilde's younger sister Isola, who died at the age of Was immer das Leiden angeht und seinen Rang — die Alten Meister, da sahn sie durch!

Wie die verstanden, es einzuordnen ins Alltagsleben. Noch auch das kostbare Kauffahrerschiff, sah da kein Aas denn Nicht irgend wie wo was Erstaunliches geschehn: Ein Junge! Es ist auf dem Weg nach irgend wo hin — und segelt gelassen davon. Wo bleibt die Ehrfurcht gegen mich? Es ist der Vater mit seinem Kind. Dem Vater grauset's, er gibt mehr Gas: "Halt' dich, mein Sohn, sonst passiert noch was! Der Sozius hinter ihm Guadalquivir, alta torre y viento en los naranjales. Dauro y Genil, torrecillas muertas sobre los estanques.

Gart, gerade gestern war ich im Spanisch-Forum.