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Journal articles on the topic 'Wolfgang Borchert'

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Published: 4 June 2021

Last updated: 8 February 2022

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1

Lee,Kwan-Woo. "Überlegungen zu 『Das Brot』 von Wolfgang Borchert." Zeitschrift f？r Deutsche Sprache und Literatur ll, no. 51 (2011): 191–207. http://dx.doi.org/10.30947/zfdsl.2011..51.191.

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2

Zimmermann, Ulf, та Claus B. Schröder. "Drauβen vor der Tür: Eine Wolfgang-Borchert-Biographie". World Literature Today 63, № 4 (1989): 677. http://dx.doi.org/10.2307/40145616.

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3

Stewart, Mary E. "Book Review: The Life and Works of Wolfgang Borchert." Journal of European Studies 34, no. 4 (2004): 369–71. http://dx.doi.org/10.1177/004724410403400416.

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4

Warkentin, Erwin J. "War by Other Means: British Information Control and Wolfgang Borchert's Draußen vor der Tür." Comparative Critical Studies 13, no. 2 (2016): 255–71. http://dx.doi.org/10.3366/ccs.2016.0202.

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This article focuses on the stage and radio play Draußen vor der Tür (The Man Outside) by Wolfgang Borchert, broadcast in the British zone of occupation for the first time on 13 February 1947. A careful comparison of the stage and radio versions allows us to ascertain the degree to which the changes made by the British radio control officers Hugh Carleton Greene and David Porter were political in nature. The article opens by outlining both the history of the creation of the radio version and Borchert's attitude towards the Public Relations/ Information Services Division of the Control Commission for Germany (PR/ISC) (through the analysis of Borchert's correspondence).The original NWDR (Nordwestdeutscher Rundfunk/ Northwest German Broadcasting) typescript of the radio broadcast, complete with handwritten emendations, is then compared with the published version, confirming how the radio play was edited to conform to British broadcast standards for a German audience, as well as the Anglo-American reeducation programme for Germany. Greene and Porter systematically edited out mention of postwar German suicides, overt German suffering, attacks on the German institutions the British considered important in the reconstruction of Germany, and any suggestion that the Allies had engaged in morally dubious acts during or after the war.

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5

Mahan, William. "Triangulating Trauma: Constellations of Memory, Representation, and Distortion in Elie Wiesel, Wolfgang Borchert, and W.G. Sebald." Humanities 6, no. 4 (2017): 94. http://dx.doi.org/10.3390/h6040094.

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6

Pascal, Richard. "Walt Whitman and Woody Guthrie: American Prophet-Singers and their People." Journal of American Studies 24, no. 1 (1990): 41–59. http://dx.doi.org/10.1017/s002187580002870x.

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Dylan Thomas, Charlotte Perkins Gilman, Rimbaud, Apollinaire, Van Gogh, Paul Tillich, Wolfgang Borchert, Joyce, Kate Chopin: these are only some of the writers and artists in whose work the example or influence of Walt Whitman has been detected over the past few years, and as anyone who has kept abreast of Whitman criticism will be instantly aware, the list could be lengthened considerably. Comparison and influence studies are such a common feature of Whitman scholarship, and he is so firmly established as one of the most provocative mid-nineteenth-century forerunners of modern literature and art, that it would seem virtually impossible to provide a hitherto unexplored instance which is worth more than a glance. Yet the name of the great twentieth century singer-songwriter Woody Guthrie has never been advanced in this context, even though similarities between the two figures have been noted in passing by commentators on Guthrie at least since the publication in 1943 of the latter's autobiography, Bound for Glory. Such neglect must be ascribed at least in part to a lingering academic bias against the study of popular culture in general and of song lyrics in particular.

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7

Monod, David. "Internationalism, Regionalism, and National Culture: Music Control in Bavaria, 1945–1948." Central European History 33, no. 3 (2000): 339–68. http://dx.doi.org/10.1163/156916100746365.

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For many Germans in the immediate postwar period, all that remained of their country was its art. Subjugation, destruction, the pain of unfathomable guilt: these had ripped away at the national psyche, severing nation from nationalism, person from people, the present from the past. “We are,” wrote Wolfgang Borchert in 1946, “a generation without a homecoming, because we have nothing to which we can return.” Nation: what would that word now mean? An occupied state no longer possessing statehood, a conquered people starved even of the moral strength that might come from resisting. Even if the institutions of national governance could be recreated, they could have no historical legitimacy; if Bonn were not to be Weimar, it would equally not be the kaisers' or the Führer's Berlin. For many, refuge from the shaming of the nation lay, as Theodor Heuss reflected, in a “decentralizing of the emotions,” in a “flight” to those fields “where the violence of the great political world shake-up is not felt so directly.” This drove literate Germans back to Goethe and music lovers to the endlessly-performed postwar symphonic cycles of Brahms and Beethoven. And yet, escaping into what Jost Hermand aptly termed “the protective wall of self-absorption” did not completely preclude connection to the national community of Germans. In fact, a powerful communion with the whole might still come through the personal enjoyment of a shared art or culture. In art might reside the essence of the national community, a stateless collectivity, without territories perhaps, but with borders and guardians nonetheless

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8

Verhaeghe, Stijn. "Diogenes in Duitsland. Een vergelijking tussen het mensbeeld in "Scherz, Satire, Ironie und tiefere Bedeutung" van Christian Dietrich Grabbe en "Draussen vor der Tür" van Wolfgang Borchert." Documenta 16, no. 3 (2019): 215–25. http://dx.doi.org/10.21825/doc.v16i3.11214.

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9

Fickert, Kurt, and James L. Stark. "Wolfgang Borchert's Germany: Reflections of the Third Reich." German Quarterly 72, no. 3 (1999): 304. http://dx.doi.org/10.2307/408565.

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10

Kaszyński, Stefan H. "Zur Neufassung des Heimkehrermotivs in Wolfgang Borcherts „Draußen vor der Tür“." Studia Germanica Posnaniensia 10 (October 29, 2018): 133–48. http://dx.doi.org/10.14746/sgp.1982.10.09.

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11

Fickert, Kurt, Erwin J. Warkentin, and Wolfgang Borchert. "Unpublishable Works: Wolfgang Borchert's Literary Production in Nazi Germany." German Quarterly 71, no. 2 (1998): 199. http://dx.doi.org/10.2307/407889.

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12

Koepke, Wulf, and Erwin J. Warkentin. "Unpublishable Works. Wolfgang Borchert's Literary Production in Nazi Germany." German Studies Review 21, no. 1 (1998): 196. http://dx.doi.org/10.2307/1432458.

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13

Berwald, Olaf, and Erwin J. Warkentin. "Unpublishable Works: Wolfgang Borchert's Literary Production in Nazi Germany." South Atlantic Review 62, no. 4 (1997): 76. http://dx.doi.org/10.2307/3200747.

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14

Weidauer, Friedemann. "Sollen Wir Ihn Reinlassen? Wolfgang Borcherts Draussen vor der Tur in Neuen Kontexten." German Life and Letters 59, no. 1 (2006): 122–39. http://dx.doi.org/10.1111/j.0016-8777.2005.00338.x.

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15

Lawson, Robert. "German Representations of Canada and Canadian Soldiers: Karl Bröger's Bunker 17, Wolfgang Borchert's 'Billbrook' and Rainer Kunad's Bill Brook." British Journal of Canadian Studies 20, no. 2 (2007): 275–88. http://dx.doi.org/10.3828/bjcs.20.2.5.

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16

Simaremare, Januantry Kristina, Risnovita Sari, and Linda Aruan. "EINE ANALYSE DER KOMPOSITA IN DEN KURZGECHICHTEN VON WOLFGANG BORCHERT." STUDIA Jurnal Pendidikan Bahasa Jerman 5, no. 2 (2016). http://dx.doi.org/10.24114/studia.v5i2.5714.

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Das Ziel der Untersuchung ist, darstellen, wie eine Analyse der Komposita in der dritten Kurzgeschichten: “Die Küchenuhr”,” Nachts schlafen die Ratten doch”, und “Das Brot” von Wolfgang Borchert benutzt werden. Die Daten dieser Untersuchung sind die Analyse der Komposita in der dritten Kurzgeschichten: “Die Küchenuhr”,” Nachts schlafen die Ratten doch”, und “Das Brot” von Wolfgang Borchert. Von dieser Untersuchung wir zusammenfasst, dass es 58 Komposita in der drei Kurzgeschichten: “Die Küchenuhr”,” Nachts schlafen die Ratten doch”, “Das Brot” von Wolfgang Borchert gibt. Die Bildung der Komposita sind : die Küchenuhr, der Fingerspitze , der Telleruhr, ihren Kinderwagen, die Wolljacke, das Abendbrot, Abendsonne, Schornsteinresten, Die Schuttwüste, den Hosenbeinen, Hosenboden, Kaninchenfutter, Donnerwetter, Siebenundzwanzig, Sonnabend, eine Blechschachtel, das Haargestrüpp, die Mauerreste, ein Kaninchenstall, Kistenbretter, Kaninchenfutter, Küchenschrank, der Brotteller, Brotkrümel, das Tischtuch, Neunundreißig, Lichtschalter, die Dachrinne, den Fußboden, Augenblick, Schlafzimmer, Überhaupt, Unterlippe, Selbstverständlich, Geringschätzig, Gleichmäßig, Weißblaue, blaurot , weißgraue, sinnllos, stehengeblieben, überlegen, übriggeblieben, blaugemalten, runtergeht, weggenommen, wegsetzen, steilgereckten, hindurchsehen, hierbleiben, zusammengesackten, weggehen, immerzu, herunter, hindurch, Tellerweiße, tagsüber, jedesmal. Die Ergebnisse dieser Untersuchung können die Kenntnisse über die Bildung der Komposita darstellen. Schlüsselwörter: die Komposita, die Kurzgeschichte von Wolfgang Borchert.

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17

"The life and works of Wolfgang Borchert." Choice Reviews Online 41, no. 05 (2004): 41–2680. http://dx.doi.org/10.5860/choice.41-2680.

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18

Kabić, Slavija. "Proza Wolfganga Borcherta." Radovi. Razdio filoloških znanosti 21, no. 12-13 (2018). http://dx.doi.org/10.15291/radovifilo.1545.

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U nepune dvije godine stvaranja mladi njemački književnik Wolfgang Borchert (1921—1947) dao je svojom upečatljivom prozom protkanom lirskim ugođajem niz antologijskih ostvarenja. Autorica članka pokušala je na osnovu njegovih najznačajnijih proznih djela (Die Hundeblume, Die Küchenuhr, Das Brot, An diesem Dienstag itd.) odrediti njihova glavna obilježja. Snagom svojeg ekspresionističkog izraza Wolfgang Borchert dao je potresnu sliku posljedica rata u životu pojedinca i društva. Stilskim sredstvima ponavljanja, mozaika, parabole i stakato-tehnike on je na majstorski način povezao groteskno-komično sa sudbinski tragičnim pri čemu se naročto ističe umješnost pjesnika u očitavanju detalja. Pjesnik »generacije bez rastanka« govori jednako dirljivo i potresno o kuhinjskom satu, kruhu i maslačku kao i o strahotama rata. Metaforičnost i slikovitost jezičnog izraza on često upotpunjuje oksimoronom, sinestezijoni aliteracijom ali i vrlo neobičnim neologizmima. Svojim društveno-kritičkim stavom utro je put mnogim drugim njemačkim književnicima (Heinrich Boli, npr.).

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19

ERKURT, Gökhan Şefik. "Wolfgang Borchert, Attila İlhan ve Nazım Hikmet’in Yapıtlarında ‘Toplumsal Vicdan’ ve ‘İdeoloji’ Temsilcisi Olarak Duvar İmgesi." Diyalog Interkulturelle Zeitschrift Für Germanistik, June 30, 2021, 23–47. http://dx.doi.org/10.37583/diyalog.958460.

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20

"Kommunismus und Liberalismus – Problemorientierungen in der Bibel." Zeitschrift für Pädagogik und Theologie 70, no. 2 (2018): 180–90. http://dx.doi.org/10.1515/zpt-2018-0021.

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Zusammenfassung:Im imaginären Interview mit Beckmann, einer Figur aus Wolfgang Borcherts Drama „Draußen vor der Tür“, wird vor dem Hintergrund einer Theologie des Kreuzes die Frage aufgeworfen, was denn eigentlich ein „Problem“ im biblischen Sinne ist. Anders formuliert: Wie können Menschen in ihrer postparadiesischen Lebenssituation Probleme als Probleme identifizieren und mit ihnen umgehen? Die Stichworte „Kommunismus“ und „Liberalismus“ werden in dem Interview von Beckmann zugleich als Kriterien für die Identifikation von Problemen und als Orientierungsrahmen für Reaktionen auf Probleme ins Gespräch gebracht.

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21

"Unpublishable works: Wolfgang Borchert's literary production in Nazi Germany." Choice Reviews Online 34, no. 09 (1997): 34–4962. http://dx.doi.org/10.5860/choice.34-4962.

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22

Wehdeking, Volker Christian. "Erwin Warkentin, Unpublishable Works. Wolfgang Borchert’s Literary Production in Nazi Germany. — Axel Vieregg, Der eigenen Fehlbarkeit begegnet. Günter Eichs Realitäten 1933–1945." Arbitrium 17, no. 3 (1999). http://dx.doi.org/10.1515/arbi.1999.17.3.355.

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23

Tyrell, Hartmann. "Max Weber, Wirtschaft und Gesellschaft. Soziologie. Unvollendet 1918–1920, hrsg. v. Knut Borchardt, Edith Hanke u. Wolfgang Schluchter. Max Weber Gesamtausgabe I/23. Tübingen: Mohr Siebeck 2013, 845 S., gb., 334,00 €." Soziologische Revue 38, no. 2 (2015). http://dx.doi.org/10.1515/srsr-2015-0042.

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24

Schöllgen, Gregor. "Weber, Max Weber-Gesamtausgabe. Im Auftrag der Kommission für Sozial- und Wirtschaftsgeschichte der Bayerischen Akademie der Wissenschaften hrsg. v. Horst Baier, Gangolf Hübinger, M. Rainer Lepsius u. a. Abt. 1: Schriften und Reden, Bd. 23: Wirtschaft und Gesellschaft. Soziologie. Unvollendet, 1919–1920. Hrsg. v. Knut Borchardt, Edith Hanke u. Wolfgang Schluchter. Tübingen, Mohr Siebeck 2013." Historische Zeitschrift 300, no. 1 (2015). http://dx.doi.org/10.1515/hzhz-2015-0076.

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