Synonyms for rené_schickele or Related words with rené_schickele

ricarda_huch              otto_julius_bierbaum              else_lasker_schüler              des_dichters              schriftsteller              matthias_claudius              friederike_mayröcker              günter_kunert              richard_dehmel              joachim_ringelnatz              das_werk              gottfried_benn              alfred_andersch              arno_holz              rose_ausländer              paul_heyse              eine_biographie              der_briefwechsel              jakob_van_hoddis              hermann_lenz              leben_und_werk              wolfgang_koeppen              jakob_wassermann              franz_blei              und_werk              von_trimberg              aufzeichnungen              wolfgang_hildesheimer              günter_eich              johannes_bobrowski              aufbau_verlag              adolf_muschg              briefwechsel_mit              robert_menasse              ludwig_tieck              alfred_polgar              leben_und              leben_werk              kurt_tucholsky              josef_weinheber              walter_kempowski              andreas_gryphius              hans_magnus_enzensberger              literaturverlag              rowohlt              illustrationen              dichtungen              gespräche_mit              poetische              ernst_wiechert             

Examples of "rené_schickele"
René Schickele (4 August 1883 – 31 January 1940) was a German-French writer, essayist and translator.
Zur Mühlen and Klein left Germany for Vienna in 1933. Zur Mühlen refused to agree to S. Fischer Verlag's appeal that she follow Thomas Mann, Alfred Döblin, René Schickele and Stefan Klein in undertaking not to write in "emigré" magazines:
"Die Weißen Blätter" were published from 1913 to 1915 by Erik Ernst-Schwabach in Leipzig in the "Verlag der weißen Bücher". In 1915 René Schickele took over. From 1916 to 1917 they were printed by the "Verlag Rascher" in Zurich, in 1918 in the "Verlag der Weißen Blätter" in Bern, from 1919 to 1920 Paul Cassirer published the magazine in Berlin.
A third to half the space in the early years of "transition" was given to translations, some of which done by Maria McDonald Jolas; French writers included: André Breton, André Gide and the Peruvian Victor Llona ; German and Austrian poets and writers included Hugo Ball, Carl Einstein, Yvan Goll, Rainer Maria Rilke, René Schickele, August Stramm, Georg Trakl; Bulgarian, Czech, Hungarian, Italian, Polish, Russian, Serbian, Swedish, Yiddish, and Native American texts were also translated.
Kafka's story "Die Verwandlung" ("The Metamorphosis") was first printed in the October 1915 issue of ', a monthly edition of expressionist literature, edited by René Schickele. Another story collection, ' ("A Country Doctor"), was published by Kurt Wolff in 1919, dedicated to Kafka's father. Kafka prepared a final collection of four stories for print, ' "(A Hunger Artist)", which appeared in 1924 after his death, in '. On 20 April 1924, the " published Kafka's essay on Adalbert Stifter.
Two leading Expressionist journals published in Berlin were "Der Sturm", published by Herwarth Walden starting in 1910, and "Die Aktion", which first appeared in 1911 and was edited by Franz Pfemfert. "Der Sturm" published poetry and prose from contributors such as Peter Altenberg, Max Brod, Richard Dehmel, Alfred Döblin, Anatole France, Knut Hamsun, Arno Holz, Karl Kraus, Selma Lagerlöf, Adolf Loos, Heinrich Mann, Paul Scheerbart, and René Schickele, and writings, drawings, and prints by such artists as Kokoschka, Kandinsky, and members of "Der blaue Reiter".
In 1930, Meier-Graefe and Epstein rented an estate called La Banette in Saint-Cyr-sur-Mer and they stayed there to escape the rise of the Nazi movement in Germany, where he was under attack for his promotion of what the National Socialists called "Degenerate Art." Meier-Graefe and Epstein encouraged and helped the landscape painter Walter Bondy and the writer René Schickele to relocate to the area as well, and they were a decisive impetus in the formation of a large German-Jewish refugee arts-colony in neighboring Sanary-sur-Mer, whose members included Thomas Mann, Lion Feuchtwanger, and Ludwig Marcuse.
Among the literary contributors were Peter Altenberg, Max Brod, Richard Dehmel, Alfred Döblin, Anatole France, Knut Hamsun, Arno Holz, Karl Kraus, Selma Lagerlöf, Adolf Loos, Heinrich Mann, Paul Scheerbart, and René Schickele. "Der Sturm" consisted of pieces such as expressionistic dramas (i.e. from Hermann Essig and August Stramm), artistic portfolios (Oskar Kokoschka and Curt Stoermer), essays from artists (the Kandinsky Album), and theoretical writings on art from Herwarth Walden. The most well-known publications resulting from the magazine were the "Sturmbücher" (storm-books), (e.g. Sturmbücher 1 and 2 were works of August Stramm – "Sancta Susanna" und "Rudimentär"). Postcards were also created featuring the expressionistic, cubist, and abstract art of Franz Marc, Wassily Kandinsky, Oskar Kokoschka, August Macke, Gabriele Münter, Georg Schrimpf, Maria Uhden, Rudolf Bauer and others. The term "Sturm" was branded by Walden to represent the way in which modern art was penetrating Germany at the time.
Eric Robertson is Professor of Modern French Literary and Visual Culture at Royal Holloway, University of London. His research focuses primarily on 20th century French literature, especially poetry, and the visual arts, with particular emphasis on European Modernism and the avant-gardes. He is the author of "Arp: Painter, Poet, Sculptor" (2006), "Writing Between the Lines", a study of the bilingual novelist and essayist René Schickele (1995), and various articles and chapters on 20th century French literature, especially poetry, and visual arts. He is also the co-editor of "Yvan Goll - Claire Goll: Texts and Contexts" (1997), "Robert Desnos: Surrealism in the Twenty-First Century" (2006), "Dada and Beyond Volume 1: Dada Discourses" (2011) and "Dada and Beyond Volume 2: Dada and its Legacies" (2012). Professor Robertson recently completed a monograph exploring the writings of Blaise Cendrars in the light of his interactions with artists, photographers and filmmakers, including Sonia Delaunay, Robert Delaunay, Robert Doisneau, Abel Gance, Fernand Léger and Léopold Survage. Further ongoing projects include a study of avant-garde art and virtual technologies.
"Caligari" is considered the quintessential work of German Expressionist cinema, and by far the most famous example of it. It is considered a classic film, often shown in introductory film courses, film societies and museums, and is one of the most famous German films from the silent era. Film scholar Lewis Jacobs called it "most widely discussed film of the time". "Caligari" helped draw worldwide attention to the artistic merit of German cinema, while also bringing legitimacy to the cinema among literary intellectuals within Germany itself. Lotte Eisner has said it was in Expressionism, as epitomized in "Caligari", that "the German cinema found its true nature." The term "caligarism" was coined as a result, referring to a style of similar films that focus on such themes as bizarre madness and obsession, particularly through the use of visual distortion. Expressionism was late in coming to cinema, and by the time "Caligari" was released, many German critics felt the art form had become commercialized and trivialized; such well-known writers as Kasimir Edschmid, René Schickele, and Yvan Goll had already pronounced the Expressionist movement dead by the time "Caligari" arrived in theatres. Few other purely Expressionistic films were produced, and "Caligari" was the only one readily accessible for several decades. Among the few films to fully embrace the Expressionist style were "Genuine" (1920) and "Raskolnikow" (1923), both directed by Wiene, as well as "From Morn to Midnight" (1920), "Torgus" (1921), "Das Haus zum Mond" (1921), "Haus ohne Tür und ohne Fenster" (1921) and "Waxworks".
With the rise of Nazism in the early 1930s, a great number of German writers and intellectuals left Germany and settled here: the playwright Bertold Brecht, Egon Erwin Kisch, Thomas Mann, Ludwig Marcuse, Joseph Roth, Franz Werfel and his wife Alma Mahler widow of Gustav Mahler at Le Moulin Gris (near the Chapelle Notre-Dame-de-Pitié), Lion Feuchtwanger at Villa Lazare then at Villa Valmer, and Arnold Zweig. Patronised by Jean Cocteau and his coterie, Sanary had already drawn Aldous Huxley, who wrote Brave New World at Villa Huley, and his wife, Maria; they attracted other English visitors, such as D. H. Lawrence and his wife, Frieda; Julian Huxley and his wife, Juliette; and others. The German expatriates clustered around Thomas Mann and his large family, his brother Heinrich and his wife (the model for "Blue Angel"), the writers Stefan Zweig and Arnold Zweig, the art critic Julius Meier-Graefe, and the artist René Schickele. Sybille von Schoenebeck (later, as Sybille Bedford, the author of "A Legacy") lived here with her mother. Ludwig Marcuse in his book "Mein Zwanzigstes Jahrhundert" (p. 160) wrote about Sanary: "Wir wohnten im Paradies - notgedrungen" - we lived in paradise, against our will.