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255 Seiten ; 21 cm FRISCHES, SEHR schönes Exemplar der ERSTAUSGABE. U.a. Helmut Arntzen: Die Funktion der Polemik bei Karl Kraus. A. Pfabigan: Karl Kraus als Kritiker des Austromarxismus. Sprache: Deutsch Gewicht in Gramm: 505

En La tercera noche de Walpurgis, escrita en 1933 (meses después de la llegada al poder de Hitler), Kraus acusa a todos aquellos que, mediante el uso perverso de la palabra, favorecieron la...

A great American writer's confrontation with a great European critic-a personal and intellectual awakeningA hundred years ago, the Viennese satirist Karl Kraus was among the most penetrating and farsighted writers in Europe. In his self-published magazine, Die Fackel, Kraus brilliantly attacked the popular media's manipulation of reality, the dehumanizing machinery of technology and consumer capitalism, and the jingoistic rhetoric of a fading empire. But even though he had a fervent following, which included Franz Kafka and Walter Benjamin, he remained something of a lonely prophet, and few people today are familiar with his work. Luckily, Jonathan Franzen is one of them.In The Kraus Project, Franzen, whose "calm, passionate critical authority" has been praised in The New York Times Book Review, not only presents his definitive new translations of Kraus but annotates them spectacularly, with supplementary notes from the Kraus scholar Paul Reitter and the Austrian author Daniel Kehlmann. Kraus was a notoriously cantankerous and difficult writer, and in Franzen he has found his match: a novelist unafraid to voice unpopular opinions strongly, a critic capable of untangling Kraus's often dense arguments to reveal their relevance to contemporary America.While Kraus is lampooning the iconic German poet and essayist Heinrich Heine and celebrating his own literary hero, the Austrian playwright Johann Nestroy, Franzen is annotating Kraus the way Kraus annotated others, surveying today's cultural and technological landscape with fearsome clarity, and giving us a deeply personal recollection of his first year out of college, when he fell in love with Kraus's work. Painstakingly wrought, strikingly original in form, The Kraus Project is a feast of thought, passion, and literature.

A fascinating study of the life and work of Karl Kraus, the Austrian satirist whose critiques of the mass media, the military-industrial complex, and technology running out of control have earned him a following fifty years after his death. Drawing on unfamiliar sources, Edward Timms analyzes Kraus's involvement in fundamental ideological issues of his time, such as psychoanalysis, social morality, design and architecture, the role of the artist, Zionism, anti-semitism, and war, and shows that Kraus' political position―caught between traditional Habsburg loyalties and new democratic commitments―was far more complex than has previously been suspected. "Dr. Timms' book is a major landmark in Kraus' studies, and an important contribution to our understanding of the culture of the early 20th century. It abounds in discoveries and insights."―W.E. Yeats, Times Literary Supplement  "Timm's lucid prose, his masterly organization of the voluminous  material he treats, his excellent translations of the documents he cites and his broad, readable portrayal of Viennese fin-de-siecle culture make this study accessible to the average reader and a pleasure for the literary professional. . . . An example of German studies at its best."―James Knowlton, European Studies Journal "Timms successfully weaves a colorful, and thoroughly researched and documented, account of essential cultural currents in Habsburg Vienna around his central figure. Copious illustrations and photographs enhance a most enjoyable text, making this an ideal introduction to Kraus and his work."―Choice

Befriedigend/Good: Durchschnittlich erhaltenes Buch bzw. Schutzumschlag mit Gebrauchsspuren, aber vollständigen Seiten. / Describes the average WORN book or dust jacket that has all the pages present.

A fascinating study of the life and work of Karl Kraus, the Austrian satirist whose critiques of the mass media, the military-industrial complex, and technology running out of control have earned him a following fifty years after his death. Drawing on unfamiliar sources, Edward Timms analyzes Kraus's involvement in fundamental ideological issues of his time, such as psychoanalysis, social morality, design and architecture, the role of the artist, Zionism, anti-semitism, and war, and shows that Kraus' political position—caught between traditional Habsburg loyalties and new democratic commitments—was far more complex than has previously been suspected. "Dr. Timms' book is a major landmark in Kraus' studies, and an important contribution to our understanding of the culture of the early 20th century. It abounds in discoveries and insights."—W.E. Yeats, Times Literary Supplement  "Timm's lucid prose, his masterly organization of the voluminous  material he treats, his excellent translations of the documents he cites and his broad, readable portrayal of Viennese fin-de-siecle culture make this study accessible to the average reader and a pleasure for the literary professional. . . . An example of German studies at its best."—James Knowlton, European Studies Journal "Timms successfully weaves a colorful, and thoroughly researched and documented, account of essential cultural currents in Habsburg Vienna around his central figure. Copious illustrations and photographs enhance a most enjoyable text, making this an ideal introduction to Kraus and his work."—Choice

Stored in Pristine Condition Sanitized Then Wrapped; Book

In this second volume of Karl Kraus: Apocalyptic Satirist, Edward Timms takes up Kraus’s story in November 1918, when the satirist responded to the creation of the new republics with a defiant hope, invoking international law against the dual threat of reactionary politics and irresponsible media. While contemporaries like Walter Benjamin regarded Kraus as heroically isolated, this book places him within a dynamic field of cultural production. Timms highlights the court cases Kraus pursued with his lawyer Oskar Samek and the theatrical projects that earned him Brecht’s friendship.In the final section of the book, the author refutes the legend that Kraus responded with stunned silence to Hitler’s seizure of power. His career culminated in Third Walpurgis Night, an analysis of Nazi ideology that has proved enduringly influential. Timms concludes that Kraus’s lifelong critique of the media, combining Orwell’s political radicalism with Joyce’s linguistic playfulness, incisively anticipates the propaganda techniques of our own age.

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A selection of essays, letters, poems, and other pieces from Kraus's magazine, Die Fackel, reflect the Viennese poet-satirist's relentless battle against the despoilers of language, culture, and life

Book by Kraus, Karl, edited by Harry Zohn

Seiten; 9783700127680.3 Sprache: Deutsch Gewicht in Gramm: 8

When the age died by its own hand, that hand was Karl Kraus’.– Bertolt BrechtPUBLISHERS WEEKLY – TOP 10 IN ART, ARCHITECTURE & PHOTOGRAPHY, Fall 2018With critical success over the past four years, artist Deborah Sengl (b. 1974) has exhibited taxidermied rats, drawings and paintings in order to restage Karl Kraus’ nearly-unperformable play The Last Days of Mankind (Die Letzten Tage der Menschheit, 1915–22). Featuring Sengl’s entire installation, the DoppelHouse Press edition also includes essays that examine her ambitious dramaturgy, which condenses Kraus’ ten-to-fifteen hour drama into an abridged reading of its themes: human barbarism, the role of journalism in war, the sway of popular opinion and the absurdities of nationalism. Select translations of Kraus’ original provide a window to see his other “war” ― a war on the misuses of language itself. Published in conjunction with the centenary anniversary of the Armistice, which ended The Great War but bred another soon to come, this edition of The Last Days of Mankind offers an agit-prop protest crossing the boundaries of art and spanning the knowledge of the century that has passed since Kraus penned his play. Deborah Sengl offers her stylistic model for envisioning human folly through animal actors, who become more than human, while confronting a violence particular to humankind, laced with selfishness and greed.Contributors include modernist poetry scholar Marjorie Perloff (The Edge of Irony, University of Chicago Press 2015); arts writer Matthias Goldmann; Paul Reitter (editor/contributor to Jonathan Franzen’s The Kraus Project, Harper, 2013); and Associate Professor of German, Anna Souchuk.

Kraus’s iconic WWI drama, a satirical indictment of the glory of war, now in English in its entirety for the first time One hundred years after Austrian satirist Karl Kraus began writing his dramatic masterpiece, The Last Days of Mankind remains as powerfully relevant as the day it was first published. Kraus’s play enacts the tragic trajectory of the First World War, when mankind raced toward self-destruction by methods of modern warfare while extolling the glory and ignoring the horror of an allegedly “defensive” war. This volume is the first to present a complete English translation of Kraus’s towering work, filling a major gap in the availability of Viennese literature from the era of the War to End All Wars. Bertolt Brecht hailed The Last Days as the masterpiece of Viennese modernism. In the apocalyptic drama Kraus constructs a textual collage, blending actual quotations from the Austrian army’s call to arms, people’s responses, political speeches, newspaper editorials, and a range of other sources. Seasoning the drama with comic invention and satirical verse, Kraus reveals how bungled diplomacy, greedy profiteers, Big Business complicity, gullible newsreaders, and, above all, the sloganizing of the press brought down the Austro-Hungarian Empire. In the dramatization of sensationalized news reports, inurement to atrocities, and openness to war as remedy, today’s readers will hear the echo of the fateful voices Kraus recorded as his homeland descended into self-destruction.

A comprehensive English-language edition of verse by the Austrian poetAn undeniable aura surrounds the name of Georg Trakl, a poet of intense inner vision and originality whose work stands alongside that of Yeats, Valéry, and T. S. Eliot. Besides Rilke, his more famous admirers include Karl Kraus and Martin Heidegger. The distinctive tone of Trakl's work-especially admired by his patron Ludwig Wittgenstein-is autumnal and melancholy. Trakl was writing at a time of spiritual and social disintegration on the eve of the First World War, when personal values and perceptions tended to be subsumed in a more generalized anguish and exaltation. Neo-romantic, early modernist, his rich, vitally sensuous poetry can be seen to mark the transition from impressionism to expressionism, but at the same time transcends such categories. Trakl's poetry has previously only been available in English in short selections or in anthologies. This bilingual edition, the most comprehensive to date, gives readers the chance to get to know Trakl's work more fully than ever before.

NOW THE SUBJECT OF A MAJOR STAGE PRODUCTION FEATURING THE TIGER LILLIES! WORLD PREMIERE AT EDINBURGH'S LEITH THEATRE ON 11-11-2018 Intended ‘for a theatre on Mars’, with a cast of nearly five hundred and running to over two hundred scenes, Karl Kraus’s apocalyptic tragedy 'The Last Days of Mankind' is the longest play ever written. It is also a biting satirical commentary on the outbreak and subsequent horrors of World War I. Karl Kraus (1874-1936) ranks as one of the great satirists of 20th-century literature. In 1899 he established his own journal, 'Die Fackel' (The Torch), to ‘drain the marsh of empty phrase-making.’ His wide-ranging oeuvre comprises essays, short stories, poetry and aphorisms, and culminated in the five-act play presented here. First published in 1920, 'The Last Days' employs a collage of modernist techniques to evoke a despairing and darkly comical vision of the Great War from the perspective of Kraus’ hometown, Vienna. At its centre Kraus places a cabal of war mongering press barons and self-serving hacks, whose strategies of mass manipulation he holds responsible for the very atrocities they report on in dispatches, editorials and feuilletons. With this translation of the play in its entirety, Patrick Healy completes the work begun in 2014 when he published the first ever English-language version of the Prologue and Act I in the Kraus anthology 'In These Great Times: Selected Writings'. The present edition includes an introduction and a glossary of names and relevant terms.

Novela(82-31) Tusquets. Encuadernación en tapa Blanda. Kraus, Karl. 23 cm. Los últimos días de la humanidad tragedia en cinco actos con prólogo y epílogoTapa deslucida.Tapa ilustrada. Pags.32.Volúmenes.

Taurus. Madrid. 1992. 21 cm. 153 p. Encuadernación en tapa blanda de editorial ilustrada. Colección 'Filosofía', 210. Edición de Jesús Aguirre. Traducción de: Pro domo et mundo. Humanidades (Taurus Ediciones). 210. Filosofía. Kraus, Karl 1874-1936. Prólogo y versión. del latín de Jesús Aguirre. Aguirre, Jesús,. Duque de Alba. 1934-2001 .. Este libro es de segunda mano y tiene o puede tener marcas y señales de su anterior propietario. ISBN: 84-306-1210-6

Les faits mis en scène ici par Karl Kraus se sont réellement produits ; les conversations les plus invraisemblables ont été tenues mot pour mot ; les inventions les plus criardes sont des citations ; les récits prennent vie sous forme de personnages, les personnages dépérissent sous forme d’éditorial ; la chronique a reçu une bouche qui la profère en monologues, de grandes phrases sont plantées sur deux jambes – bien des hommes n’en ont plus qu’une. Quiconque a les nerfs fragiles, bien qu’assez solides pour endurer cette époque, qu’il se retire du spectacle.La vie de l’écrivain et journaliste viennois Karl Kraus (1874-1936) se confond avec l’infatigable bataille qu’il mena dans sa revue Die Fackel (Le Flambeau) contre la corruption de la langue et donc de la morale.« Au secours, les tués ! Assistez-moi, que je ne sois pas obligé de vivre parmi des hommes qui, par ambition démesurée, ont ordonné que des cœurs cessent de battre, que des mères aient des cheveux blancs ! Revenez ! Demandez-leur ce qu’ils ont fait de vous ! Ce qu’ils ont fait quand vous souffriez par leur faute avant de mourir par leur faute ! Cadavres en armes, formez les rangs et hantez leur sommeil. Avancez ! Avance, cher partisan de l’esprit, et réclame-leur ta chère tête ! Avance pour leur dire où tu es et comment c’est là-bas, dis-leur que tu ne voulais plus jamais te laisser utiliser pour ça ! Et toi là-bas, avec ce visage défiguré à ton dernier instant, lorsque sur ordre la bête sauvage, l’écume aux lèvres, se précipita sur toi ― avance ! Ce n’est pas votre mort ― c’est votre vie que je veux venger sur ceux qui vous l’ont infligée ! »

A comprehensive English-language edition of verse by the Austrian poetAn undeniable aura surrounds the name of Georg Trakl, a poet of intense inner vision and originality whose work stands alongside that of Yeats, Valéry, and T. S. Eliot. Besides Rilke, his more famous admirers include Karl Kraus and Martin Heidegger. The distinctive tone of Trakl's work-especially admired by his patron Ludwig Wittgenstein-is autumnal and melancholy. Trakl was writing at a time of spiritual and social disintegration on the eve of the First World War, when personal values and perceptions tended to be subsumed in a more generalized anguish and exaltation. Neo-romantic, early modernist, his rich, vitally sensuous poetry can be seen to mark the transition from impressionism to expressionism, but at the same time transcends such categories. Trakl's poetry has previously only been available in English in short selections or in anthologies. This bilingual edition, the most comprehensive to date, gives readers the chance to get to know Trakl's work more fully than ever before.