#Gertrud Richter

[minayuri]

Countess Told "the Inactive" is the outlier here.

[chantireviews]

FISHING For LUCK by Murray Richter - Middle Grade Fiction, Family & Friendships, Coming of Age

FISHING For LUCK by Murray Richter – Middle Grade Fiction, Family & Friendships, Coming of Age

  During the pre-internet era of 1980, Kevin and his friends just want to enjoy a good fishing adventure, but troubles from the past come back to complicate their carefree boyhood in Murray Richter’s novel, Fishing for Luck. As the group prepares their fishing raft for its maiden voyage, Kevin tries to solve these problems himself before anyone else knows of them, but no matter what he tries, the…

[byneddiedingo]

Die Nibelungen (Fritz Lang, 1924)

Die Nibelungen: Siegfried

Hanna Ralph in Die Nibelungen: Siegfried

Cast: Gertrud Arnold, Margarete Schön,Hanna Ralph, Paul Richter, Theodor Loos, Hans Adalbert Schlettow  Georg John.

Die Nibelungen: Kriemhild's Revenge

Margarete Schön in Die Nibelungen: Kriemhild's Revenge

Cast: Margarete Schön, Gertrud Arnold, Theodor Loos, Hans Adalbert Schlettow, Rudolf Klein-Rogge, Georg John.

Screenplay: Fritz Lang, Thea von Harbou. Cinematography: Carl Hoffmann, Günter Rittau, Walter Ruttmann. Art direction: Otto Hunte, Karl Vollbrecht. Costume design: Paul Gerd Guderian, Aenne Willkomm. Music: Gottfried Huppertz.

Fritz Lang's two-part epic, based on the Middle High German Nibelungenlied, will confuse anyone who knows the story only via Richard Wagner's Ring cycle: There are no Rhinemaidens or gods or Valkyries, nothing of Siegfried's parentage, and, since it lacks gods, consequently no Götterdämmerung. It consists of two films, Siegfried and Kriemhild's Revenge, that tell the story -- parts of which will be familiar from the final two operas in Wagner's cycle -- of how Siegfried slew the dragon and bathed in its blood, becoming invincible except for one spot on his back that the blood failed to touch, then killed the dwarf Alberich and took possession of a magic net that renders him invisible. He travels to Burgundy, where he wins the hand of the beautiful Kriemhild by helping her brother, King Gunther, subdue the warrior maiden Brunnhild. But Siegfried is killed after Gunther's advisor, Hagen, tricks Kriemhild into revealing his vulnerable spot. Brunnhild kills herself and Kriemhild vows revenge on the whole lot, which in the second film she accomplishes by marrying King Etzel, aka Attila, and provoking war between his Huns and the Burgundians. Lang tells the story with an eye-filling blend of tableaus, set-pieces, and scenes swarming with bloody action, concluding with a spectacular fire in which the Burgundians are trapped in Etzel's castle. The performances are pretty spectacular, too. Paul Richter plays Siegfried as a muscular young goof ensnared by fate, Hanna Ralph is a formidable Brunnhild, and Margarete Schön modulates from naïve to terrifying as Kriemhild. But it's the production design by Otto Hunte and the costuming by Paul Gerd Guderian that lingers most in the memory. The production evokes late 19th- and early 20th-century book illustrators like Arthur Rackham and Walter Crane, but also the stark hieratic figures of Byzantine mosaics, especially Kriemhild, who becomes more powerfully static as the film progresses. Much has been written about the way the film fed into the heroic German myth that was co-opted by the Nazis, especially since the screenwriter, Thea von Harbou, Lang's wife at the time, later joined the party. (Lang, whose mother was Jewish, left Germany in 1934.) In fact, the Nazis sanctioned only the first half, Siegfried, after they came to power. Kriemhild's Revenge, with its depiction of the corruption of power and its nihilistic ending, didn't suit their purposes.

[byneddiedingo]

Die Nibelungen (Fritz Lang, 1924)

Die Nibelungen: Siegfried

Cast: Gertrud Arnold, Margarete Schön, Hanna Ralph, Paul Richter, Theodor Loos, Hans Adalbert Schlettow, Georg John.

Die Nibelungen: Kriemhild's Revenge

Cast: Margarete Schön, Gertrud Arnold, Theodor Loos, Hans Adalbert Schlettow, Rudolf Klein-Rogge, Georg John.

Screenplay: Fritz Lang, Thea von Harbou. Cinematography: Carl Hoffmann, Günter Rittau, Walter Ruttmann. Art direction: Otto Hunte, Karl Vollbrecht. Costume design: Paul Gerd Guderian, Aenne Willkomm. Music: Gottfried Huppertz

Fritz Lang's two-part epic, based on the Middle High German Nibelungenlied, will confuse anyone who knows the story only via Richard Wagner's Ring cycle: There are no Rhinemaidens or gods or Valkyries, nothing of Siegfried's parentage, and, since it lacks gods, consequently no Götterdämmerung. It consists of two films, Siegfried and Kriemhild's Revenge, that tell the story -- parts of which will be familiar from the final two operas in Wagner's cycle -- of how Siegfried (Paul Richter) slew the dragon and bathed in its blood, becoming invincible except for one spot on his back that the blood failed to touch, then killed the dwarf Alberich (George John) and took possession of a magic net that renders him invisible. He travels to Burgundy, where he wins the hand of the beautiful Kriemhild (Margarete Schön) by helping her brother, King Gunther (Theodor Loos), subdue the warrior maiden Brunnhild (Hanna Ralph). But Siegfried is killed after Gunther's advisor, Hagen (Hans Adalbert Schlettow), tricks Kriemhild into revealing his vulnerable spot. Brunnhild kills herself and Kriemhild vows revenge on the whole lot, which in the second film she accomplishes by marrying King Etzel (Rudolf Klein-Rogge), aka Attila, and provoking war between his Huns and the Burgundians. Lang tells the story with an eye-filling blend of tableaus, set-pieces, and scenes swarming with bloody action, concluding with a spectacular fire in which the Burgundians are trapped in Etzel's castle. The performances are pretty spectacular, too. Richter plays Siegfried as a muscular young goof ensnared by fate, Ralph is a formidable Brunnhild, and Schön modulates from naïve to terrifying as Kriemhild. But it's the production design by Otto Hunte and the costuming by Paul Gerd Guderian that lingers most in the memory. The production evokes late 19th- and early 20th-century book illustrators like Arthur Rackham and Walter Crane, but also the stark hieratic figures of Byzantine mosaics, especially Kriemhild, who becomes more powerfully static as the film progresses. Much has been written about the way the film fed into the heroic German myth that was co-opted by the Nazis, especially since the screenwriter, Thea von Harbou, Lang's wife at the time, later joined the party. (Lang, whose mother was Jewish, left Germany in 1934.) In fact, the Nazis sanctioned only the first half, Siegfried, after they came to power. Kriemhild's Revenge, with its depiction of the corruption of power and its nihilistic ending, didn't suit their purposes.

Margarete Schön as Kriemhild of Burgund

DIE NIBELUNGEN: KRIEMHILD'S REVENGE (1924) | dir. Fritz Lang

[pressmost]

Ardagger - Frühstücksnews - Donnerstag, 2.12.2021

Ardagger – Frühstücksnews – Donnerstag, 2.12.2021

Sehr geehrte Gemeindebürgerin! Sehr geehrter Gemeindebürger! Heute müssen wir leider wieder von einer Gemeindebürgerin Abschied nehmen: Frau Gertrud Richter aus Stephanshart in der Mesnerholzstraße ist gestern nach langer schwerer Krankheit im 92. Lebensjahr von Gott aus diesem Leben abberufen worden. Heute findet um 19.00 Uhr die Nachtwache in der Pfarrkirche Stephanshart statt und morgen (Am…

[erstwhile-punk-guerito]

[frankenpagie]

9.9.21

[moviemosaics]

Dr. Mabuse the Gambler

directed by Fritz Lang, 1922

[minayuri]

Mabuse's Gaze

Rudolf Klein-Rogge in DR. MABUSE, DER SPIELER (1922) | dir. Fritz Lang

[byneddiedingo]

Rudolf Klein-Rogge in Dr. Mabuse the Gambler (Fritz Lang, 1922)

Cast: Rudolf Klein-Rogge, Aud Egede-Nissen, Gertrud Welcker, Alfred Abel, Bernhard Goetzke, Paul Richter, Robert Forster-Larrinaga, Hans Adalbert Schlettow, Georg John, Károly Huszár, Grete Berger, Julius Falkenstein. Screenplay: Thea von Harbou, Fritz Lang, based on a novel by Norbert Jacques. Cinematography: Carl Hoffmann. Art direction: Otto Hunte, Erich Kettelhut, Karl Stahl-Urach, Karl Vollbrecht. 

Dr. Mabuse the Gambler is a four-and-a-half-hour movie, and I've seen two-hour movies that felt longer. It zips along because Fritz Lang never fails to give us something to look at and anticipate. There is, first and foremost, the almost literally hypnotic performance of Rudolf Klein-Rogge as Mabuse, a role that could have degenerated into mere villainous mannerisms. There is his dogged and thwarted but always charismatic opponent, von Wenk (Bernhard Goetzke), who seems on occasion to resist Mabuse's power by mere force of cheekbones. There is the extraordinary art decoration provided by Otto Hunte and Erich Kettelhut, which often gives the film its nightmare power: Consider, for example, the exceedingly odd stage decor provided for the Folies-Bergère performance by Cara Carozza (Aud Egede-Nissen), in which she contends with gigantic heads with phallic noses (or perhaps beaks), or the collection of primitive and Expressionist art belonging to the effete Count Told (Alfred Abel). The story itself, adapted from the novel by Norbert Jacques by Lang's wife-to-be Thea von Harbou, is typically melodramatic stuff about a megalomaniac psychiatrist, who uses his powers to become a master criminal. But l think it succeeds not only because it has so much to say about the period in which it was made but also because of our continuing fascination with mind control. It sometimes feels like there's a little Mabuse in everyone who seeks power. Somehow we continually lose our skepticism, born of hard experience, about the manipulators and find ourselves once again yielding to them. And somehow we usually, like von Wenk, find a way to pull ourselves back from the brink. But, as Lang himself experienced, we don't always manage to do so. 

[mycstilleblog]

Bücherverbrennung - Auch in Dortmund verbrannten die Nazis Bücher: Das Beste, Klügste, Humanste, das deutsche Dichter*innen und Wissenschaftler*innen geschaffen hatten, ging 1933 in Flammen auf

Bücherverbrennung – Auch in Dortmund verbrannten die Nazis Bücher: Das Beste, Klügste, Humanste, das deutsche Dichter*innen und Wissenschaftler*innen geschaffen hatten, ging 1933 in Flammen auf

Gedenkplatte auf dem Dortmunder Hansaplatz. Fotos (12): C. Stille

In vielen deutschen Universitätsstädten verbrannten die Nazis im Mai 1933 tausende Bücher aus öffentlichen und privaten Bibliotheken auf öffentlichen Plätzen. Dabei Werke bekannter Autoren wie Erich Kästner, Kurt Tucholsky, Carl von Ossietzky oder Heinrich Mann, darunter viele jüdische Schriftsteller. Am 30. Mai 1933 fand auch in…

[ultraravencookie]

Starkid Charlie and the Chocolate Factory Fancast

(based off the Broadway version)

AJ Holmes as Willy Wonka

Nick Lang as Charlie Bucket

Dylan Saunders as Grandpa Joe

Kim Whalen as Sarah Bucket

Joey Richter as Augustus Gloop

Jamie Burns as Gertrude Gloop

Alle-Faye Monka as Veruca Salt

Robert Manion as Oleg Salt

Tiffany Williams as Violet Beauregard

James Tolbert as Eugene Beauregard

Brant Cox as Mike Teavee

Lauren Lopez as Ethel Teavee

Jaime Lyn Beatty as Cherry Sundae

Jon Matteson as Jerry Jubilee

[la-semillera]

Wilhelmina Barns-Graham & Anne Carson

Safo fue una música. Su poesía es lírica, es decir, compuesta para ser cantada con el acompañamiento de la lira. Interpela a su lira en uno de sus poemas (fr. 118) y menciona a menudo la música, las canciones y el canto. Los pintores de los antiguos vasos cerámicos la retratan con su instrumento. Los escritores tardíos le atribuyen tres inventos musicales: el del plectro, un instrumento para pulsar la lira (Suda); el de la péctide, un tipo particular de lira (Ateneo, El banquete de los sabios 14.635b); y el del modo mixolidio, un estilo exaltado también presente en los poetas trágicos, que lo aprendieron de Safo (Aristóxeno citado por Plutarco, Sobre la música 16.113c). Toda la música de Safo se ha perdido.

Safo fue también una poeta. Existe una hydria del siglo V a.C. en el Museo Nacional de Atenas que representa a Safo, identificada por su nombre, leyendo un papiro. Se trata de una imagen idealizada: se desconoce si ella en persona fue iletrada o no. Pero parece verosímil que las letras de sus canciones fueran puestas por escrito durante su vida o muy poco después de su muerte y que ya se encontraran sobre rollos de papiro hacia finales del siglo V a.C. En un rollo de papiro el texto está escrito en columnas, sin división de palabras ni puntuación ni alineación. Leer un texto así es dificultoso incluso cuando llega hasta nosotros en su integridad, cosa que no sucede con la mayoría de los papiros. De los nueve libros de poesía lírica que se dice que Safo compuso, ha sobrevivido completo un único poema. Todo lo demás son fragmentos.

Safo vivió en la ciudad de Mitilene en la isla de Lesbos, a partir del 630 a.C. aproximadamente. No se sabe cuándo murió. Su exilio en Sicilia en algún momento entre el 604 y el 595 a.C. se menciona en una inscripción antigua (el Mármol de Paros), pero nada se dice del motivo de ese exilio. Las fuentes biográficas mencionan a una madre, un padre, una hija, un marido y tres hermanos de Safo. Parece haber dedicado su vida a la composición de canciones; los eruditos de Alejandría las compilaron en nueve libros, de los que solamente el primero constaba de 1320 versos. La mayor parte de ello se ha perdido. El rostro de Safo se grabó en monedas acuñadas en Mitilene (véase G.M.A. Richter, Portraits of the Greeks, 1.70-72) y los poetas helenísticos la llamaron «la décima Musa» o «la Musa mortal» (véase Antología Palatina 9.506 y 7.14). El talante general de la opinión del mundo antiguo sobre su obra se resume en un comentario de Estrabón:

Safo [es] una cosa fascinante. Hasta donde sabemos, en toda la historia de la que hay memoria ninguna otra mujer puede apenas acercarse a rivalizar con ella en la gracia de su poesía. (13.2.3)

Las controversias sobre su ética personal y su modo de vida han ocupado el tiempo de muchísimas personas a lo largo de la historia de la erudición sáfica. Safo, al parecer, conoció y amó a mujeres con la misma hondura con la que compuso música. ¿Podemos dejar aquí el asunto? Como dijo Gertrude Stein:

Ella debió ser una mujer muy feliz. Ahora somos capaces de reconocer una fotografía. Somos capaces de conseguir lo que queremos.

Marry Nettie, Gertrude Stein Writings 1903‐1932

(Nueva York, 1999), 461

- Si no, el invierno. Fragmentos de Safo. Anne Carson. Edición trilingüe, traducción del inglés al español a cargo de Aurora Luque. Vaso Roto.