The song is a product of Germany's Weimar Republic , during which time lesbians and gay men enjoyed a short period of improvement in quality of life when the government established basic democratic rights that covered the LGBT community and abolished censorship. Was will man nur? What do they want? Is this Culture that every man is outlawed who is — wise and well — however with blood of his own kind perfused that nevertheless this category is banned by the law, who is in feeling in pleasure and playing and in its kind related?
And still most of us are proud, to be cut from different cloth!
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Chorus We are just different from the others who are being loved only in lockstep of morality who wander curiously through a thousand wonders and who are only up to the trivial. But we do not know what the feeling is since we are all children of a different kind of world we only love lavender night, who is sultry because we are just different from the others! Dann haben wir das gleiche Recht erstritten, wir leiden nicht mehr, sondern sind gelitten! Why the torment to impose morals of others on us?
We, listen to this, are what we are, even if they want to hang us. The groundwork was French, in either case. But he ended most of his sentences in a stumble of English and a conclusion of German, she skilfully wove herself to her end in whatever phrase came to her. It seems that national differences can eventually be surmounted to give birth to a new fraternity of humans where all the members acknowledge one another for what they do and not for where they come from.
At first, foreign words appear as a means to promote education and merit but finally, the weapon ends up turning against those who use it. The example of Hermione shows that foreign languages become a source of evil and corruption when employed as a tool for power. The new aristocracy fails to avoid the errors of the old one. The presence of an art teacher represents an infringement on her prerogatives and invitably generates a rivalry.
She cannot bear that a domestic should challenge her, forcing her to prove that she is educated and drawing her into a fight in which she can only be beaten. In retaliation, the English woman adopts a false ingenuity to underline the fact that the governess is not aware of the secret she shares with Winifred.
She shifts to German as if it were some cryptic language only shared by her and the little girl, who is immensely pleased with the game:. Beesmarck, he was not a king, Winifred, as you have said. She also takes advantage of the situation to flaunt her knowledge, and tries to get back her authority as a teacher. Yet she is finally defeated because she cannot find terms, either in German or in English, to express her statement thoroughly.
The text hints at the French defeat in At another level though, it is also a bad omen that Mademoiselle should refer to such historical events; the author indirectly conjures up the feelings which nourished the warmongering in the years up to Gudrun, who thinks that Gerald is exploiting her, intends to take advantage of their being out of England to reverse the hierarchy between them To this end Loerke will assist her. She will use their mysterious language to carry out a courtship without obviously doing so.
It must be noticed at this point that Lawrence resorts to erotic terms to describe the kind of delight the two artists derive from their macaronic discussions:. She took a peculiar delight in this conversation.
It was full of odd, fantastic expression, of double meanings, of evasions, of suggestive vagueness. It was a real physical pleasure to her to make this thread of conversation out of the different-coloured stands of three languages. The basest erotic connotations of French are brought up. She reduces Gerald to sex and reduces sex to worthlessness.
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She and Loerke debase the physical side of life in French. When Loerke invites Gudrun to follow him, he insists on keeping their relationship at a mental level:. I detest it. Does it matter, whether I drink white wine this evening, or whether I drink nothing?
It does not matter , it does not matter. So this love, this amour, this baiser. Yes or no, soit ou soit pas, today, tomorrow, or never, it is all the same, it does not matter—no more than the white wine. Unfit and badly dressed, exclusively cerebral, Loerke finally represents the exact antithesis of Gerald. German, on the contrary, carries along with it all the values which matter to Gudrun and represent her way of freeing herself from any restraint:.
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And there will be amusing things to do. It will be amusing to go to these eurythmic displays, and the German opera, the German theatre. While the latter argues with Loerke, instead of taking sides with one of the rivals, Gudrun unexpectedly cries out that she does not want to be called Mrs Crich She states it firstly in German, so loudly that she is heard by all the people around in the Reunionsaal before translating it for the main person concerned. From the point of view of the Germans around them, she is embarrassing Gerald by publicly breaking with him. Choosing to speak German, Gudrun has completely isolated her victim and refuses to be associated with him in any manner, denying their common nationality.
And because of the highly sophisticated verbal game she has invented with Loerke, she prevents Gerald from finding any way of defending himself:. From their verbal and physical nuances they got the highest satisfaction in the nerves, from a queer interchange of half-suggested ideas, looks, expressions and gestures, which were quite intolerable, though incomprehensible, to Gerald.
He had no terms in which to think of their commerce, his terms were much too gross. Quand vous aurez fini! This time, French is used for its suggestion of chivalric noblesse. The weak and sneaky man wins over the sensual aristocrat. The calculating social climber actually copies the cruel games of the decadent old aristocrats in order to conquer power and drives Gerald to kill himself. Languages, far from engendering hope, actually lead to a war between men resulting in hatred and destruction.
Ultimately, the use of foreign languages generates a highly complex web of interactions between characters which finally amount more often to open war than to peace. Foreign words and allusions enable people to debase their adversaries without appearing to do so; it is the product of a great virtuosity in the art of conjugating violence and courtesy, insults and decency. New aristocrats do not need long to fall into the same errors as their decadent predecessors as they draw immense pleasure from the very mind games which kept them excluded before.
Lawrence considered that the decay of civilisation came from the perverse deviation of natural functions towards the libidinal excitement found in cerebral activities. His novel illustrates it in the most striking way. The reader may yield in his turn to the venomous charm of such impressive skills and thus discover his own corruption. One can even wonder if Lawrence could really imagine and compose situations and dialogues of that sort without drawing some pleasure out of it. Moreover, he gave his characters some of the features of his own nature. The humour emerging from certain scenes adds a certain piquancy.
The novel leaves us with a peculiar feeling of ambiguity. Has all hope become impossible? Among all these cunning figures, Ursula and Birkin stand out. Ursula is constantly mistrustful about people being too clever while Birkin tries to bring about new values based on the body and the instincts. Seeking refuge from this end-of-the-world atmosphere, the two decide to leave behind them the cold mental North and head for the South more closely rooted to the senses.
Will they manage to build the community of the few that Birkin dreams of? The Complete Poems. Sola Pinto, W. London: Penguin books, Roberts et H. New York: Viking Press, Women in Love. Farmer, L. Vasey and J. Worthen, annotated by M. Cambridge: Cambridge University Press, Fernihough, Anne. Feyel, Juliette.
Lawrence and the Nietzschean Notion of Will to Power. Ingram, Allan. The Language of D. London: Macmillan, Katz-Roy, Ginette ed. Katz-Roy, Ginette. Milton, Colin. Lawrence and Nietzsche, A Study in Influence. Aberdeen: Aberdeen University Press, Paccaud-Huguet, Josiane. Grenoble: Ellug, Pichardie, Jean-Paul. Lawrence: La tentation utopique. Thatcher, D. Nietzsche in England , the Growth of a Reputation. Toronto: University of Toronto Press, Vitoux, Pierre. Women in Love, D. Italian What work did you do?
Plan Two aristocracies.