Journal articles: 'Tucholsky, kurt'

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Tucholsky, Kurt. "Karl Kraus selon Kurt Tucholsky." Agone, no. 35-36 (September 15, 2006): 147–48. http://dx.doi.org/10.4000/revueagone.650.

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King, W. J. "KURT TUCHOLSKY -‘ERFOLG UND WIRKUNG’?" German Life and Letters 39, no. 4 (July 1986): 291–304. http://dx.doi.org/10.1111/j.1468-0483.1986.tb00890.x.

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Schöler, Uli. "Kurt Tucholsky, Hausausweise und der Reichstag." Zeitschrift für Parlamentsfragen 47, no. 4 (2016): 909–12. http://dx.doi.org/10.5771/0340-1758-2016-4-909.

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King, Ian. "Kurt Tucholsky and the Weimar Republic." Debatte: Journal of Contemporary Central and Eastern Europe 13, no. 1 (April 2005): 65–70. http://dx.doi.org/10.1080/09651560500134677.

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Utz, Peter. "Von der „Amazone“ zum „Zeitungsbureau“.: Robert Walsers „Alphabet“ und das literarische Buchstabieren im Feuilleton." Zeitschrift für Germanistik 32, no. 1 (January 1, 2022): 105–25. http://dx.doi.org/10.3726/92171_105.

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Wie das literarische Feuilleton der Zwischenkriegszeit mit katalogartigen Textstrukturen experimentiert, wird ausgehend von Robert Walsers paradigmatischem Alphabet (1921), das auch in die Nähe des französischen Surrealismus rückt, erkundet. Weitere Spielformen des feuilletonistischen Buchstabierens reichen von den satirisch geschärften Alphabeten Kurt Tucholskys und Anton Kuhs bis zu den Feuilletonsammlungen Ernst Kammerers, welche die neue Sprach- und Feuilletonordnung nach 1933 nur noch nachstammeln. The literary feuilleton of the interwar period experimented with catalogue-like text structures. This is explored starting with Robert Walser’s paradigmatic Alphabet (1921), which also moves close to French surrealism. Other forms of feuilletonistic spelling range from the satirically sharpened alphabets of Kurt Tucholsky and Anton Kuh to the feuilleton collections of Ernst Kammerer, which only stammer the new language and feuilleton order after 1933.

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Schimkowitsch, Stephanie, Dakshayani Shankar, Charlotte Ursule, and Alexandra Ludewig. "Tucholsky, Kurt: Germany? Germany! Satirical Writings. The Kurt Tucholsky Reader. New York: Berlinica Publishing, 2017 (Kurt Tucholsky in Translation). -- ISBN 978-1-935902-38-6. 208 Seiten, $ 14,95." Informationen Deutsch als Fremdsprache 47, no. 2-3 (April 8, 2020): 326–29. http://dx.doi.org/10.1515/infodaf-2020-0082.

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King, Ian. "Kurt Tucholsky as Prophet of European Unity." German Life and Letters 54, no. 2 (April 2001): 164–72. http://dx.doi.org/10.1111/1468-0483.00196.

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Bednarczuk, Monika. "Modernity and the Jewish Stigma. Julian Tuwim, Alfred Döblin and Kurt Tucholsky: Biographies and Work." Acta Universitatis Lodziensis. Folia Litteraria Polonica 36, no. 6 (May 30, 2017): 69–98. http://dx.doi.org/10.18778/1505-9057.36.06.

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The paper deals with biographical, ideological and artistic links between Julian Tuwim, Alfred Döblin and Kurt Tucholsky. On the one hand, the basis of comparison are biographical similarities, the Jewish origin of those three writers, their family dramas, the experience of politically opressive school, the trauma of revolution or war, and the exile to name just a few. On the other hand, the article demonstrates the ways the modernity has influenced the attitudes and texts of Döblin, Tucholsky and Tuwim. While talking about modernity, the author focuses on such phenomena as secularisation and urbanisation processes, mass political movements, and new cultural challenges.Tuwim, Döblin and Tucholsky were born into assimilated Jewish families. Their perspective on the stereotypical Jews (the orthodox Jews as well as Jewish bankers or manufacturers) is marked with antipathy, or even contempt. The writers’ ambivalence towards the diapora and towards their own origin illustrate “Jewish self-hatred”; however, all three authors change their opinion on Jewry in the face of the growing anti-Semitic and Nazi danger, and especially the Holocaust. Döblin is proud of being Jewish after his visit to Poland in 1924, Tucholsky warns German Jews against the consequences of their passivitivy, and Tuwim publishes in 1944 his agitating manifesto We, Polish Jews. Last but not least, the three authors go into exile because of their Jewish ancestry and sociocultural activities. Therefore, it is no coincidence thatone cannot help having associations with Heinrich Heine: his biography can be interpreted as a prefiguration of a Jewish artist’s biography.Furthermore, Tuwim, Döblin and Tucholsky are notably sensitive to social questions, and their sensitivity to such issues results to some extent from their difficult childhood and youth. Especially significant seem in that respect family conflicts and the moving from city to city, since such experiences increase the feeling of loneliness and the vulnerability to depression. Nevertheless, Döblin, Tucholsky and Tuwim come with impetus into the cultural life of Germany and Poland and work in the areas of literature, cabaret (satire) as well as journalism. They share sympathy for the political left and fears of the orthodox communism. They are simultaneously advocates and ardent critics of great cities. They pay attention to new phenomena (the popularity of cars, the role of the press, the new morality) and react to them. Their aim is creating a culture which appeals to the masses and educates them in a non-intrusive way. However, the awareness of their own intellectual superiority imposes distance towards lower social groups. The distance stems, firstly, from the universal ambivalence artists feel towards the masses, and secondly, from the ideological moderation characteristic of petit bourgoisie and of the political centre. In general, Döblin, Tucholsky and Tuwim are idealists who hope for a humanitarian world which is impossible in the era of extrem political violence leading to the Holocaust.

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Puaux, Jean-Pierre. "Kurt Tucholsky Allemand, juif, socialiste et franc-maçon." Humanisme N° 293, no. 3 (August 1, 2011): 80–84. http://dx.doi.org/10.3917/huma.293.0080.

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Paenhuysen, An. "Kurt Tucholsky, John Heartfield andDeutschland, Deutschland über Alles." History of Photography 33, no. 1 (February 2009): 39–54. http://dx.doi.org/10.1080/03087290802582921.

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Helbig, Louis F., and William John King. "Kurt Tucholsky als politischer Publizist. Eine politische Biographie." German Studies Review 8, no. 1 (February 1985): 163. http://dx.doi.org/10.2307/1429642.

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Desbois, Catherine. "Kurt Tucholsky : à cache-cache derrière les pseudonymes." Cahiers d’études germaniques 61, no. 2 (2011): 147–57. http://dx.doi.org/10.3406/cetge.2011.1897.

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Bub, Stefan. "„Stierkampf in Bayonne“ – Corrida in Lissabon." arcadia 53, no. 1 (June 4, 2018): 18–38. http://dx.doi.org/10.1515/arcadia-2018-0001.

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AbstractTwo bold descriptions of bullfighting in German literature – a section of Kurt Tucholsky’s Ein Pyrenäenbuch and the final episode of Thomas Mann’s Bekenntnisse des Hochstaplers Felix Krull – can be read in the context of French authors who (about the 1920 s and 1930s) were fascinated by the corrida and the idea of abject sacredness and transgression. The comparison of striking motives (e. g., the art of the matador, the suffering of the horses) reveals how literary texts reflect the ritual character of bullfighting, represent its disgusting aspects, and deal with the taurobolic “scandalon” of death and eros. Whereas Tucholsky encounters a trivial spectacle and nevertheless feels the attraction of violence, Thomas Mann’s narrator is confronted with mythic thought (Mithras) and Dionysiac excess.

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Roszik, Anderson. "O espectro militar na literatura do início da República de Weimar (1919-1922): uma análise da crítica de Kurt Tucholsky." Boletim de Pesquisa NELIC 16, no. 25 (November 17, 2016): 126. http://dx.doi.org/10.5007/1984-784x.2016.v16n25p126.

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http://dx.doi.org/10.5007/1984-784X.2016v16n25p126O objetivo deste artigo é analisar como Kurt Tucholsky (1890-1935), nos anos iniciais da República de Weimar, tece sua crítica à presença do estrato militar na recém instaurada democracia alemã. O percurso elaborado por Tucholsky consiste em discussões sobre obras pertencentes a um dos principais campos de interesse de escrita da época: o da literatura de guerra, fração do campo literário importante para a compreensão do contexto imediato pós Primeira Guerra Mundial (1914-1918). Escritas por oficiais na forma de memórias, tais obras versam sobre a constituição das estruturas militares e suas correspondentes hierarquias até o desenvolvimento do aparelho oficial e seu controle na veiculação de notícias na imprensa. A análise dos textos de Tucholsky, publicados no periódico die Weltbühne, possibilita entrever as imbricações políticas, sociais e culturais da queda do sistema imperial e de seus estratos constitutivos face à crise estrutural nos primeiros anos de vida da república.

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Tucholsky, Kurt. "Kurt Tucholsky – Trois textes, traduction de Jean-Pierre Lefebvre." Cahiers d’études germaniques 31, no. 1 (1996): 215–18. http://dx.doi.org/10.3406/cetge.1996.1389.

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Kick, Verena R. "From Photobook to Digital Book: Curating Weimar Germany’s New Visual Literacy Online." Seminar: A Journal of Germanic Studies 57, no. 3 (August 1, 2021): 243–63. http://dx.doi.org/10.3138/seminar.57.3.3.

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This contribution focuses on the digital curation of Weimar Germany’s new visual literacy, using Kurt Tucholsky and John Heartfield’s photobook Deutschland, Deutschland über Alles as a case study to examine in which ways a photobook and accompanying research can be showcased online. Tucholsky and Heartfield’s work is an example of the photobook genre that rose to prominence in the 1920s, also for its potential to serve as an “Übungsatlas” (Walter Benjamin) for the new visual literacy. In curating the photobook online, using the publishing platform Scalar and the media repository Critical Commons, the photobook and the accompanying research not only become easily accessible to fellow researchers, students, and the public, but it also becomes possible to emulate and thus explore Weimar Germany’s new visual literacy online. Curating Tucholsky and Heartfield’s photobook and the related analysis online allows for a reflection on digital curation as scholarship, its use in the classroom, and its implications for the trajectory of photobook research.

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King, Ian. "Ein Suchender, Kein Denkmal: An Analysis of Research on Kurt Tucholsky." German Life and Letters 50, no. 1 (January 1997): 35–52. http://dx.doi.org/10.1111/1468-0483.00041.

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Rosenthal, John. ""Of Course Murder": On A Sort of Homage to Kurt Tucholsky." Monthly Review 48, no. 2 (June 3, 1996): 29. http://dx.doi.org/10.14452/mr-048-02-1996-06_3.

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Desbois, Catherine. "Die desengagierte Schrift eines engagierten Schriftstellers im ersten Weltkrieg: Kurt Tucholsky." Cahiers d’études germaniques 37, no. 2 (1999): 153–62. http://dx.doi.org/10.3406/cetge.1999.1497.

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Götze, Karl Heinz. "Im Paradies der kleinen Leute. Zum Frankreich-Bild von Kurt Tucholsky." Cahiers d’études germaniques 31, no. 1 (1996): 11–30. http://dx.doi.org/10.3406/cetge.1996.1372.

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Sośnicka, Dorota. "Tucholsky in Szczecin. Eine Tagung der Kurt Tucholsky-Gesellschaft und des Instituts für Germanistik der Universität Szczecin: „Tucholsky, Stettin/Szczecin, Polen, die Ostsee“, Szczecin, 28.-30.10.2016." Colloquia Germanica Stetinensia 26 (2017): 331–35. http://dx.doi.org/10.18276/cgs.2017.26-20.

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Ritzel, Fred. "'Was ist aus uns geworden? – Ein Häufchen Sand am Meer: emotions of post-war Germany as extracted from examples of popular music." Popular Music 17, no. 3 (October 1998): 293–309. http://dx.doi.org/10.1017/s0261143000008564.

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Kurt Tucholsky wrote in 1923 in reference to an old ‘Fasching’ tune of that era that this song comprised the ‘most complete expression of the German “Volksseele” (“soul of people”) that one could imagine’ and that it ‘truly reveals the day and age we live in, how this age has evolved and how we ourselves come to terms with this age’ (Tucholsky 1975, p. 187). His argument can be compared to Kracauer's thesis on the effects of film (Kracauer 1979, p. 11). He suggested that the commercial character of mass cultural production was constantly affected by what was provided in a stream of feedback: only commodities which convincingly meet public expectations on either a latent or manifest level are successful with the public. If the masses are moved by a national rhythmic feeling, then the hits articulating that feeling can be seen as a kind of national expression. From this perspective, national and political identities are bound up in the daily emotional turbulence of the music industry.

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Roszik, Anderson. "O “nosso militar (?)”: o militarismo alemão na poesia satírica de Kurt Tucholsky." REVISTA DO CENTRO DE ESTUDOS DA LINGUAGEM DA FUNDAÇÃO UNIVERSIDADE FEDERAL DE RONDÔNIA 6, no. 1 (2019): 114–34. http://dx.doi.org/10.47209/2594-4916.v.6.n.1.p.114-134.

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Solty, Ingar. "The Man Who Tried to Whistle Against an Ocean: Kurt Tucholsky (1890–1935)." Socialism and Democracy 33, no. 3 (September 2, 2019): 67–91. http://dx.doi.org/10.1080/08854300.2020.1821337.

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Blum, Marie-Odile. "Le fallacieux et le dérisoire dans les textes de Kurt Tucholsky (1907-1920)." Cahiers d’études germaniques 31, no. 1 (1996): 139–47. http://dx.doi.org/10.3406/cetge.1996.1383.

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Wellnitz, Philippe. "Malborough s'en va-t-en guerre : Kurt Tucholsky critique de théâtre à Paris." Cahiers d’études germaniques 31, no. 1 (1996): 61–69. http://dx.doi.org/10.3406/cetge.1996.1375.

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King, Ian. "Es war wie Glas zwischen uns: Die Geschichte von Mary und Kurt Tucholsky/Dr. Med. Else Weil (1889–1942): Auf den Spuren von Kurt Tucholskys Claire aus ‘Rheinsberg’." Journal of Contemporary European Studies 20, no. 2 (June 2012): 232–34. http://dx.doi.org/10.1080/14782804.2012.687577.

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Vogel, Jakob. "Military, Folklore, Eigensinn: Folkloric Militarism in Germany and France, 1871–1914." Central European History 33, no. 4 (December 2000): 487–504. http://dx.doi.org/10.1163/156916100746437.

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In his poem “Our Military!” published in 1919, Kurt Tucholsky describes the great enthusiasm that he, or rather his pseudonym Kaspar Hauser, felt as a boy before World War II for the sis–boom–bah of martial music when the soldiers marched by. Only when he was a soldier himself “in the Russian wind” of the First World War were the young man's eyes opened to the barbarity, desperation, and despair of war and the actual power relations in the army. While the poem's antimilitaristic intentions are readily apparent, Tucholsky nevertheless also managed to capture a view widely held during the interwar years: that before 1914 there still existed in the population an unbroken enthusiasm for the army and its colorful displays, but that the experience during the war of death on such a massive scale put an end to it. Walter Rathenau echoed precisely these sentiments in his 1919 treatise Der Kaiser: Eine Betrachtung, seeing the prewar society of the German Empire as a “militarily-drilled mass” that sought “to display their acquired military arts in grand public spectacles.” The stereotypical image of a bygone prewar era of military glory and pageantry received a more popular, less “critical” treatment in the 1934 film “Frühjahrsparade,” a musical that evoked “the good old days” of the Habsburg Empire and the k. u. k. army, and not least the passion of women for “the man in uniform.”

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Zehnhoff, H. W. AM. "Satire in word and image: satirical techniques of John Heartfield and Kurt Tucholsky inDeutschland, Deutschland über alles." Word & Image 4, no. 1 (January 1988): 157–62. http://dx.doi.org/10.1080/02666286.1988.10436231.

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Desbois, Catherine. "De la forme courte dans l'œuvre de Kurt Tucholsky ou : De l'art de la concentration dans l'écriture." Cahiers d’études germaniques 31, no. 1 (1996): 191–200. http://dx.doi.org/10.3406/cetge.1996.1387.

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Eggert, Manfred. "Permanence de Kurt Tucholsky : pacifisme, droit et justice dans la République de Weimar et en République fédérale d'Allemagne." Cahiers d’études germaniques 31, no. 1 (1996): 117–26. http://dx.doi.org/10.3406/cetge.1996.1380.

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Robb, David. "Narrative Role-Play in Twentieth-Century German Cabaret and Political ‘Song Theatre’." New Theatre Quarterly 26, no. 1 (February 2010): 25–37. http://dx.doi.org/10.1017/s0266464x10000035.

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One of the most creative communicative strategies of German twentieth-century political song has been narrative role-play. From the songs of Kurt Tucholsky and Walter Mehring in Weimar cabaret during the 1920s to the dramatic monologues of Franz Josef Degenhardt in the 1960s and beyond, singers have assumed identifiable roles to parody the language, mannerisms, and characteristics of known establishment social types. Role play has also been evident in the narrative identities constructed by singers and performers, either by means of literary association or by association with certain political ideas or stances, as in the case of Ernst Busch embodying the proletarian worker. This article examines different types of role-play, including that of Hans-Eckard Wenzel and Steffen Mensching who, in their 1980s performances, assumed the ironic masks of clowns, with which they projected an alternative ‘carnival’ vision of society in the German Democratic Republic. David Robb is Senior Lecturer in German at Queen's University of Belfast. He is an experienced songwriter and performing musician, the author of Zwei Clowns im Lande des verlorenen Lachens: das Liedertheater Wenzel & Mensching (1998) and the editor of Protest Song in East and West Germany since the 1960s (2007).

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Rippey, T. F. "Book Reviews: Kurt Tucholsky. Das literarische und publizistische Werk. Herausgegeben von Sabina Becker und Ute Maack. Darmstadt: Wissenschaftliche Buchgesellschaft, 2002. 316 Seiten. 26,90." Monatshefte XCVII, no. 1 (March 1, 2005): 140–43. http://dx.doi.org/10.3368/m.xcvii.1.140.

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Sheppard, Richard. "Reviews : Siegfried Jacobsohn: Briefe an Kurt Tucholsky 1915-1926. Edited by Richard von Soldenhoff. Albrecht Knaus Verlag, Munich and Hamburg, 1989. Pp. 623. DM48." Journal of European Studies 21, no. 1 (March 1991): 78. http://dx.doi.org/10.1177/004724419102100116.

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Moreno i Domènech, Maria. "Kurt Tucholsky: <i>Un llibre dels Pirineus.</i> Traducció: Heike van Lawick, Neus Andreu. Catarroja / Barcelona / Palma: Editorial Afers, 2017." Zeitschrift für Katalanistik 33 (July 1, 2020): 422–24. http://dx.doi.org/10.46586/zfk.2020.422-424.

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Sheppard, Richard. "Reviews : Ich kann nicht schreiben, ohne zu lügen: Briefe 1913 bis 1935. By Kurt Tucholsky. Edited by Fritz J. Raddatz. Reinbek bei Hamburg: Rowohlt, 1989. Pp. 420. DM 48." Journal of European Studies 21, no. 1 (March 1991): 77. http://dx.doi.org/10.1177/004724419102100115.

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Müller-Dietz, Heinz. "Miederhoff, Thorsten, Man erspare es mir, mein Juristenherz auszuschütten. Dr. iur. Kurt Tucholsky (1890-1935). Sein juristischer Werdegang und seine Auseinandersetzung mit der Weimarer Strafrechtsreformdebatte am Beispiel der Rechtsprechung durch Laienrichter." Zeitschrift der Savigny-Stiftung für Rechtsgeschichte: Germanistische Abteilung 127, no. 1 (August 1, 2010): 831–34. http://dx.doi.org/10.7767/zrgga.2010.127.1.831.

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Jelowik, Lieselotte. "Miederhoff, Thorsten, Man erspare es mir, mein Juristenherz auszuschütten. Dr. iur. Kurt Tucholsky (1890-1935). Sein juristischer Werdegang und seine Auseinandersetzung mit der Weimarer Strafrechtsreformdebatte am Beispiel der Rechtsprechung durch Laienrichter." Zeitschrift der Savigny-Stiftung für Rechtsgeschichte: Germanistische Abteilung 127, no. 1 (August 1, 2010): 834–36. http://dx.doi.org/10.7767/zrgga.2010.127.1.834.

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Mańczyk-Krygiel, Monika. "Wierzchołek świata. Aline Valangin i dolina Onsernone." Góry, Literatura, Kultura 15 (December 29, 2021): 90–100. http://dx.doi.org/10.19195/2084-4107.15.6.

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These considerations are devoted to literary pictures of the Onsernone Valley located on the Italian-Swiss border. It was here in the 1930s and 1940s that the Swiss writer Aline Valangin (1889– 1986) created an extraordinary oasis of freedom and peace in her estate in Comologno. She hosted famous figures such as Kurt Tucholsky, Elias Canetti, Ignazio Silone, or Wladimir Vogel, and provided shelter to many politically persecuted artists. The subject of detailed reflection is the question of the perception, experience and acquisition of the Ticino mountains both in works by Valangin and in biographical works about her; with a particular focus on narrative perspective — from the outside and the inside. Eveline Hasler in biographical novel Aline und die Erfindung der Liebe (2000) attempts to (re)construct an image of the Onsernone Valley as a specific “valley of poets”, presenting a subtle analysis of the interaction between the conservative inhabitants of the valley, attached to tradition, and the extravagant artists who found asylum and inspiration in the Ticino Alps. This novel is an example of a modern biography, which is characterized by narrative polyphony; the description of space becomes an important carrier of meanings and collective memory in the author’s concept. Aline Valangin sketches in her novels (Die Bargada, 1943 / Dorf an der Grenze, 1982) and short stories (Tessiner Erzählungen, 2018) an image of Onserone indigenous people’s everyday life in the thirties and forties, full of worries. Her stories include outsiders, misfits, social outcasts, guerrillas, smugglers, and exiles — and they all find haven in the Valley. Valangin’s works are also an important voice in the discussion of the essence of Swiss patriotism not only through strong criticism of Swiss immigration policy during World War II, but also by reflecting on the concept of the border as a place that unexpectedly proves to be a challenge and a particular kind of self-experience in the face of events that are tearing up the current existence.

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Mańczyk-Krygiel, Monika. "Der Scheitel der Welt. Aline Valangin und das Onsernonetal." Góry, Literatura, Kultura 15 (December 29, 2021): 77–89. http://dx.doi.org/10.19195/2084-4107.15.5.

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These considerations are devoted to literary pictures of the Onsernone Valley located on the Italian-Swiss border. It was here in the 1930s and 1940s that the Swiss writer Aline Valangin (1889– 1986) created an extraordinary oasis of freedom and peace in her estate in Comologno. She hosted famous figures such as Kurt Tucholsky, Elias Canetti, Ignazio Silone, or Wladimir Vogel, and provided shelter to many politically persecuted artists. The subject of detailed reflection is the question of the perception, experience and acquisition of the Ticino mountains both in works by Valangin and in biographical works about her; with a particular focus on narrative perspective — from the outside and the inside. Eveline Hasler in biographical novel Aline und die Erfindung der Liebe (2000) attempts to (re)construct an image of the Onsernone Valley as a specific “valley of poets”, presenting a subtle analysis of the interaction between the conservative inhabitants of the valley, attached to tradition, and the extravagant artists who found asylum and inspiration in the Ticino Alps. This novel is an example of a modern biography, which is characterized by narrative polyphony; the description of space becomes an important carrier of meanings and collective memory in the author’s concept. Aline Valangin sketches in her novels (Die Bargada, 1943 / Dorf an der Grenze, 1982) and short stories (Tessiner Erzählungen, 2018) an image of Onserone indigenous people’s everyday life in the thirties and forties, full of worries. Her stories include outsiders, misfits, social outcasts, guerrillas, smugglers, and exiles — and they all find haven in the Valley. Valangin’s works are also an important voice in the discussion of the essence of Swiss patriotism not only through strong criticism of Swiss immigration policy during World War II, but also by reflecting on the concept of the border as a place that unexpectedly proves to be a challenge and a particular kind of self-experience in the face of events that are tearing up the current existence.

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Hagner, Michael. "Kurt Tucholsky, «Liebe Winternuna, liebes Hasenfritzli» — ein Zürcher Briefwechsel. Hrsg. Gustav Huonker. Strauhof Zürich (Ausstellung 1990). Zürich, Offizin Zürich, 1990. 152 S. III. (Strauhof Zürich, Band 4). SFr. 58.-. ISBN 3-907495-08-X." Gesnerus 48, no. 2 (November 25, 1991): 244–45. http://dx.doi.org/10.1163/22977953-04802019.

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Букрєєва, Л. Л., and I. О. Нiкiтiнська. "IRONY IN KURT TUCHOLSKY’S WORKS AND WAYS OF ITS REPRESENTATION IN TRANSLATION." Writings in Romance-Germanic Philology, no. 2(43) (December 6, 2019): 6–19. http://dx.doi.org/10.18524/2307-4604.2019.2(43).186207.

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43

Götze, Karl Heinz. "“In der heutigen Zeit Liebe? Wer liebt denn heute noch?” Kurt Tucholskys Schloß Gripsholm (1930)." Cahiers d’études germaniques 55, no. 2 (2008): 265–81. http://dx.doi.org/10.3406/cetge.2008.1786.

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44

Eidam, Lutz. "URSULA BLANKE-KIEßLING. „… dieser Staat ist nicht mein Staat …“. Über das Staats- und Verfassungsdenken Kurt Tucholskys." Archiv für Rechts- und Sozialphilosophie 97, no. 3 (2011): 420–22. http://dx.doi.org/10.25162/arsp-2011-0035.

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45

Müller-Dietz, Heinz. "Blanke-Kießling, Ursula, „… dieser Staat ist nicht mein Staat …“. Über das Staats- und Verfassungsdenken Kurt Tucholskys." Zeitschrift der Savigny-Stiftung für Rechtsgeschichte: Germanistische Abteilung 131, no. 1 (August 1, 2014): 501–3. http://dx.doi.org/10.7767/zrgga-2014-0123.

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46

Helf, Josef. "Dank an Frankreich (1927). Kurt Tucholskys Pyrenäenbuch als Höhepunkt seiner Frankreich-Berichterstattung: Kritische Reinszenierung von Parismythen." Cahiers d’études germaniques 31, no. 1 (1996): 31–44. http://dx.doi.org/10.3406/cetge.1996.1373.

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47

Zehnhoff, Hans-Werner am. "Walt Whitman und Kurt Tucholsky." arcadia 22, no. 1-3 (January 1, 1987). http://dx.doi.org/10.1515/arcadia-1987-0104.

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48

Häntzschel, Günter. "Michael Hepp, Kurt Tucholsky. Biographische Annäherungen." Arbitrium 13, no. 1 (1995). http://dx.doi.org/10.1515/arbi.1995.13.1.106.

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49

"Karl Kraus selon Oskar Kokoschka, Kurt Tucholsky et Bertolt Brecht." Agone, no. 35-36 (September 15, 2006): 133. http://dx.doi.org/10.4000/revueagone.627.

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50

Schmeichel-Falkenberg, Beate. "Antje Bonitz / Thomas Wirtz, Kurt Tucholsky. Ein Verzeichnis seiner Schriften." Arbitrium 12, no. 2 (1994). http://dx.doi.org/10.1515/arbi.1994.12.2.232.

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Journal articles on the topic 'Tucholsky, kurt'

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