Academic literature on the topic 'Children's poetry, German'

This chapter focuses on portraits of children in three photographic picturebooks from the German Democratic Republic (GDR). While these picturebooks draw largely on modernist photography in the postwar period, they also react sensitively to ideological demands from the official state authorities. To demonstrate this influence, this chapter exemplifies that these photobooks represent different aesthetic and ideological strategies. While Bullermax (1964) by Edith Rimkus and Horst Beseler is an exemplar of a poetic strategy and Matti im Wald (Matti in the Forest, 1966) by the same couple represents a realistic strategy, Kleiner Bruder Staunemann (Little Brother Marveling Man, 1966) by Hans Hüttner and Lotti Ortner stands for a propagandistic strategy. The chapter analyzes the inherent socialist values of the three books by stressing the idea of the curious socialist child and the effects of montage.

The marital ideal that made it difficult for Grace Chisholm Young (1868-1944) to maintain an independent professional life was that of the "helpmate wife” who advanced her husband’s career. A graduate of Girton College and the first woman to defend a thesis and earn a doctorate in mathematics in Germany, Grace Chisholm was a mathematician in her own right when she married her former college tutor, William Henry Young (1863-1942), in 1896. After they moved to Europe with their infant son, Will encouraged Grace to fulfill her longstanding desire to study medicine, instead of continuing to work with him on pure mathematics. She remained in Germany with their two children while he divided his time between Germany and teaching jobs in Britain. Soon Grace was doing mathematics with Will as well as medicine, and also caring for their growing family (four more children were born between 1901 and 1908). Their partnership, which never fully acknowledged her contribution, established Will as a highly creative mathematician in the early 1900s. Over the next two decades, the Youngs produced several books and over two hundred articles, but Will took public credit for their joint work. Grace willingly assumed the role of junior, mostly anonymous, and distinctly subordinate partner in the Youngs’ collaboration. Her role in their professional partnership mirrored her role in their domestic partnership, and reflected their assessment of their respective talents: he was a late-blooming genius while she was merely talented. They agreed that helping him was more important than anything she could do on her own. Nevertheless, Grace refused to give up her medical training -- an aspect of her life that has not been adequately explored until now. Will encouraged her interest in medicine, but simultaneously pressured her to devote more time to helping him with mathematics. Grace never became a licensed doctor, but she eventually completed all the required coursework, despite the seemingly impossible demands on her time. She also published two children’s books about science, penned stories for her own children, wrote poetry, and authored an historical novel about Elizabethan England that was never published. When Will was teaching in India from 1914 to 1916, Grace wrote a series of papers under her own name that established her independent reputation in pure mathematics. Although she found it increasingly difficult to be Will’s self-sacrificing helpmate, especially after he retired, she continued to cultivate her image as a devoted, helpmate wife who advanced her husband’s career. But she silently rebelled, and her notebooks, pocket diaries, and the poetry she wrote in the 1930s record her disillusionment and suppressed anger.

Abstract Non: The genitive forms are relatively rare, occurring chiefly with verbs and adjectives that govern the genitive. The familiar 2nd person pronouns du and ihr are used when addressing relatives, close friends, one’s peers (among certain groups such as workmen), children, animals, God (Du), and (in poetry) personified inanimate objects; the reader of a book, advertisement, etc.

The author describes her personal experience and insights on Portugal as a German artist who has lived and worked worldwide. She observes the changes from her first arrival during the European Football Championship in 2004, the experience of the WebSummit and various exhibitions in Portuguese Museums, up to the COVID-19 confinement and reopening in 2022. She tells the story of 18 years of development of the country, its tourism and economy, the spiritual path, and also the “zen exercises” the community has and had to offer: getting lost in Lisbon, finding faith in Fatima, sanctuaries in Santarem, and tabernacles in Tomar, as Portugal became her literal port of the grail (Port-u-gal). From children to education, poetry, prose, science, food, art, and religion, she paints a picture from the view of a foreigner mingling with the Portuguese and the ex-pat community. Isolated in the countryside during COVID-19, she connected online with Portuguese artists and created new alliances.

Antonina Domańska (1853–1917). Writer’s Domestic Environment The children’s author Antonina Domańska (1853–1917) came from a well-known Kraków middle-class family of German-Austrian descent. Joseph Kremer, the progenitor and grandfather of Antonina, was granted his rights as a citizen of the City of Krakow in 1796. His three sons, Józef, Karol and Aleksander (the father of Antonina) all received a thorough education and in time became accomplished figures of Polish science and arts. Aleksander Kremer (1813–1880) starting in 1842 lived in Kamieniec Podolski and worked there as a doctor. There, he married Modesta Płońska who in 1853 gave birth to their daughter, Antonina. After the fall of the January Uprising of 1863, the family was forced to leave Russian-occupied Poland and return to Krakow. Here Antonina Kremer obtained her education in a boarding school for girls; in 1874 she married Stanisław Domański, a surgeon. She took care of the household and looked after her five children, two of which survived into adulthood. Beginning in 1890, Antonina Domańska took to writing stories for children and young adults. She maintained close contacts with the family of Lucjan Rydel Sr, a medical doctor, whose wife Helena, the daughter of prof. Józef Kremer, was her cousin. But it Isabel Röskau-Rydel was her cousin’s son, the poet and writer Lucjan Rydel Jr (1870–1918), who – as the correspondence between them readily shows – inspired her in her literary endeavours, advised her on publishing her works and was a trustworthy partner for discussions on possible topics for her tales for children and young adults.

August Stramm was a German Expressionist poet and playwright; an important author of the Expressionist journal Der Sturm and its main contributor of ‘Wortkunst’, a form of literature characterised by the destruction of conventional language patterns. Born in Münster on 29 July 1874, Stramm entered postal service, working on the ‘Seepostdienst’ (nautical mail service) between Hamburg/Bremen and New York from 1897 onwards and at the Berlin Postal Ministry from 1905. By then he started attending university lectures (e.g. philosophy, history, economy) and preparing for his doctorate, which he achieved in 1909 with a thesis on unified global postal rates. In 1902, Stramm married Else Krafft, a successful writer of light fiction; they had two children.

"We present an old process developed more than a hundred years ago at American universities. It means professional, journalistic and academic forms of writing. It also includes poetry and narrative forms. Creative writing has always been at the heart of university education. Today, there are more than 500 bachelor's degree programs and 250 master's degree programs in this subject in the United States. In other fields of study, it is mandatory to enrol in this subject. After World War II, it came to Europe, first to England and later to Germany. Here, ""... since the 'Sturm und Drang' (1770-178