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| Preface to the Second Edition | ||
| Introduction | ||
| 1 | Once upon a Time in Bavaria (1898-1914) | 1 |
| 2 | "Sweet and Proper Death" (1914-17) | 16 |
| 3 | "The World Has Laws Only to Be Trampled On" (1917-18) | 28 |
| 4 | "In the Most Significant Moments of the Revolution This Renowned 'Organizational Talent' Is the First to Fail" (1918-19) | 45 |
| 5 | "Cold as a Dog, a Great Being with No Human Feeling" (1919-20) | 54 |
| 6 | "Why Can't the Jews Be Got out of the Way?" (1920-21) | 66 |
| 7 | "The Still Recognized Fuhrer ... in His Augsburg Headquarters" (1921-22) | 79 |
| 8 | "Down with the Goddamned Jewish Sow, Murder Walther Rathenau" (1922) | 100 |
| 9 | "What Concern Is It of Yours That People Are Starving?" (1923-24) | 112 |
| 10 | "Jabyourknifeintohimjackhiphiphurrah" (1923-24) | 122 |
| 11 | "A Woman Must Give Up a Lot" (1924-25) | 137 |
| 12 | "The Corpses That Fell around Him Did Not Bother Him" (1925-26) | 153 |
| 13 | "Let the Tips of Your Fingers Stroke the Tips of Her Breasts" (1926-27) | 169 |
| 14 | "The Pawnbroker ... Took Anything That Might Be Useful to Him from Right and Left" (1927-28) | 190 |
| 15 | "A Robot That Stood There, Used to Coldness of the Emotions" (1928-29) | 204 |
| 16 | "His Pain at His Weakness, His Inability to Systematize Anything, Was Almost Physical" (1928-29) | 219 |
| 17 | "We'll Have to Get Rid of Them" (1929-30) | 232 |
| 18 | "Evil Ingredients, Very Finely Distributed, of Reactionary Thinking Grounded in Senseless Authority" (1930) | 245 |
| 19 | "Should Fascism Come to Power, It Will Ride over Your Skulls and Spines Like a Terrific Tank" (1931) | 255 |
| 20 | "It Was Hitler's Best Time, His Neck Was Still Slender Then and Radiated Sensuality," (1931-32) | 265 |
| 21 | "Moscow Is Convinced the Road to Soviet Germany Lies through Hitler" (1932) | 274 |
| 22 | "Let Us Speak Quite Frankly with One Another, Herr Brecht, You Have Lived a Very Rich Life at My Expense" (1933) | 289 |
| 23 | "There Are Friends One Can Run over with a 1,000-Ton Freight Train" (1933) | 300 |
| 24 | "You Have Achieved a Masterwork, Old Muck" (1933-35) | 314 |
| 25 | "I Do Not Want to Get Involved in Any of Your Hierarchical Games, No Matter How Fine" (1935-36) | 329 |
| 26 | "A Quagmire of Infamous Crimes, All of the Scum ..., All the Parasites ... Were All Nested Together" (1936-37) | 341 |
| 27 | "'Is This Signature Yours?' 'I Put It There, after Torture ... Terrible Torture.'" (1937-38) | 350 |
| 28 | "Master, What Grounds Do You Have for Your Antipathy towards Women?" (1938-39) | 363 |
| 29 | "How Can a Tiny Tree Blossom When So Much Snow Falls on It?" (1939-41) | 376 |
| 30 | "I Saw That without Me He Really Didn't Get Anything Done" (1941) | 387 |
| 31 | "I and My People ... Firmly Believe Your Wise Plan: Hitler Is Not Going to Attack Us in 1941" (1941) | 398 |
| 32 | "As Long As They Are Fighting, the War Will Stay away Forever from Our Shores" (1941-43) | 412 |
| 33 | "He's Behaved, in the Worst Word I Can Find, Like a 'Hitlerite'" (1943) | 424 |
| 34 | "For a Moment I Crossed My Fingers for Hitler" (1943-45) | 436 |
| 35 | "The Jews Have Now Had Their Six Million Deaths, Now They Should Give [Us] Some Peace" (1945) | 451 |
| 36 | "I Am Jealous, So Jealous That the Devil's Fire Is Burning All over in My Body" (1946-47) | 467 |
| 37 | "No, No, No, No, No, Never" (1947) | 478 |
| 38 | "We No Longer Stand before a Choice between Peace and War, but between Peace and Annihilation" (1947-48) | 487 |
| 39 | "Possibly the Most Powerful Scene, Emotionally, in Twentieth-Century Drama" (1948-49) | 500 |
| 40 | "A Small Hole of a Room" (1949) | 509 |
| 41 | "He Despises Us Women Deeply" (1949-50) | 518 |
| 42 | "I Regard Myself As a Criminal. I Am a Jew." (1951-53) | 530 |
| 43 | "They Have Taken My Name out with Chemicals. Out of a Handwritten Letter of Lenin!" (1953-54) | 546 |
| 44 | "Should I Wander around like a Wreck, Muttering His Poems to the Survivors?" (1954-55) | 562 |
| 45 | "He Sat on a Chair Placed at a Great Distance from Human Beings" (1954-56) | 574 |
| 46 | "Organized Schizophrenia" (1956) | 595 |
| 47 | "The Progress of the Consciousness of Freedom" | 610 |
| Acknowledgments | 623 | |
| Notes | 627 | |
| Photo Credits | 699 | |
| Index | 703 |
| Price | Condition | Delivery | Seller | Action |
| $99.99 | Digital |
| WonderClub |
Alan Abril
reviewed Brecht and Co.: Sex, Politics, and the Making of the Modern Drama on June 01, 2018
Brecht and Co.: Sex, Politics, and the Making of the Modern Drama
Die biografische Darstellung über Brechts Leben ist sehr umfassend. Ziel Fuegi ist es, die Autorschaft von Brechts Werk richtig zu stellen bzw. zumindest in Frage zu stellen, denn abschließend lässt sich diese noch immer nicht in jedem Detail klären. Wie bereits in der großen biografischen Darstellung von Mittenzwei anklingend, hat Brecht mit vielen anderen an seinen Dramen gearbeitet bzw. diese Arbeiten bewusst für sich vereinnahmt.
Fuegi stellt darüber hinaus in Abrede, dass Brecht bei einigen seiner Dramen überhaupt etwas beigesteuert hat. Zum Teil wird dies an einigen Indizien fast zum Beweis verdichtet. An anderen Stellen bleiben es aber Vermutungen. Hier leidet dann auch die Arbeit des Autors. Immer wieder verfällt er in Wertungen oder persönliches Geplänkel. Der Anspruch auf Wissenschaftlichkeit ist dadurch schwer zu halten.
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Add Brecht and Co.: Sex, Politics, and the Making of the Modern Drama, John Fuegi traces the evolution of Brecht's parasitic relationships and aggressive ambition through close analysis of diaries, letters, and drafts of the literary works, revealing a man who was personally dazzling, a genius at assembling and directing the, Brecht and Co.: Sex, Politics, and the Making of the Modern Drama to the inventory that you are selling on WonderClubX
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Add Brecht and Co.: Sex, Politics, and the Making of the Modern Drama, John Fuegi traces the evolution of Brecht's parasitic relationships and aggressive ambition through close analysis of diaries, letters, and drafts of the literary works, revealing a man who was personally dazzling, a genius at assembling and directing the, Brecht and Co.: Sex, Politics, and the Making of the Modern Drama to your collection on WonderClub |
