Suchergebnisse

In exile on the Côte d'Azur Charlotte Salomon (Berlin 1917-Auschwitz 1943) painted Leben?oder Theater? (LT). The work, an impressive life-story, comprises more than a thousand pages: gouaches, painted text and text fragments on transparent paper. Since 1971 LT has been in the collection of the Jewish Historical Museum in Amsterdam. LT has been discussed from different perspectives. My accent will be on the use of three media – music, word, image – in interaction. LT springs from song, as Salomon tells in an introductory fragment. Music is present in quotes of melodies, from popular song to opera. This is undoubtedly connected with het stepmother, the opera singer Paula Lindberg and her singing teacher Alfred Wolfsohn. My text consists of three parts: the first part has a biographical character. Given the relationship between life and work of Charlotte Salomon, it is logical to go into both the autobiographical base and the work itself. The destinies of Charlotte Salomon and Charlotte Kann (alter ego in LT) are marked by suicide. In LT it is not the historical truth which comes first, but the experience as remembered and structured in a definite way. The political development was to be fatal to Charlotte Salomon, but not to her alter ego. In the second part musical quotes – mostly (part of) a line from an opera – are central. An intertextual interpretation shows that both the characters and the theme get more emphasis in that way, especially fate (Der Freischtz by Weber), love and jealousy (Carmen by Bizet), love, death and creativity (Orfeo ed Eurydice by Gluck). Characters as Franziska (Charlotte's mother), Paulinka Bimbam and Amadeus Daberlohn are detached from their biographical roots and embedded in European culture. The relationship between word and image is the subject of part three, in the first place concentrated on text and subsequently on the motif of the window. The design of the text fragments is adapted to image, though a difference has to be made between text on transparent paper and text ...

Ernst von Salomon, mit dessen Schriften sich der Verfasser auseinandersetzt, unterscheidet "Nation" als "Kraft" von "Stoff". Damit wird Nation Voraussetzung und Ziel gleichermaßen, sie erfüllt sich erst "im Sieg der Deutschen über die Erde". Der radikale Nationalismus macht etwas Nichtexistentes zur Grundlage der Gesellschaft. Der "Volksgenosse" war nie ein Mensch der "Gemeinschaft". Der deutsche radikale Nationalismus des 20. Jahrhunderts konstruierte das Volk als Mythos. In der Bundesrepublik nach 1949 verlor dieser Typus seine Bedeutung. Abgelöst wurde er vom Typus des Konsumenten, erst in zweiter Linie von dem des Staatsbürgers. (ICE)