Josef von Sternberg's 1930 film The Blue Angel (Der blaue Engel) is among the best known films of the Weimar Republic (1919-1933). A significant landmark as one of Germany's first major sound films, it is known primarily for launching Marlene Dietrich into Hollywood stardom and for initiating the mythic pairing of the Austrian-born American director von Sternberg with the star performer Dietrich. This fascinating cultural history of The Blue Angel provides a new interpretive framework with which to approach this classic Weimar film and suggests that discourses on mass and high culture are integral to the film's thematic and narrative structure. These discourses surface above all in the relationship between the two main characters, the cabaret entertainer Lola Lola (Marlene Dietrich) and the high school teacher Immanuel Rath (one-time Oscar winner Emil Jannings). In addition to offering insight into some of the major debates that informed the Weimar Republic, this book demonstrates that similar issues continue to shape the contemporary cultural landscape of Germany. Barbara Kosta thus also looks at Dietrich as a contemporary cultural icon and at her symbolic value since German unification and at Lola Lola's various "incarnations.
In one of the first books to address the New German Cinema from a feminist perspective, Barbara Kosta looks closely at two autobiographical films, Helma Sanders-Brahms's Germany, Pale Mother and Jutta Br'ckner's Years of Hunger; and at two books, Ruth Rehmann's Man in the Pulpit: Questions for a Father, and Christa Wolf's Patterns of Childhood. In different ways, Kosta shows, these works of the 1970s and 1980s have recast traditional autobiography, offering fresh characters in new roles, exploring innovative forms of expression, and confronting long-repressed themes such as the devaluation of the female voice and the horror of Germany's fascist past.
These writings have evolved properly over living many years on the planet and enjoying observations of my fellow man. It's about learning how to flow within the rhythm of all “LIFE FORMS” and laughing about silly things incredulous human beings do. It’s about loving the human race, and living everywhere on the planet at one time; it’s about you! Note: There is no intention on my part to be cogent as these writings have come about from a knowing heart! Upon using the words man and he, I am referring to the Homo Sapien species which include both male/female gender as we know it at the time of these writings.
For all four, Kosta demonstrates, autobiography is at once a process of remembering and working through national and personal trauma, a task of mourning and healing, and an act of self-invention.
Josef von Sternberg's 1930 film The Blue Angel (Der blaue Engel) is among the best known films of the Weimar Republic (1919-1933). A significant landmark as one of Germany's first major sound films, it is known primarily for launching Marlene Dietrich into Hollywood stardom and for initiating the mythic pairing of the Austrian-born American director von Sternberg with the star performer Dietrich. This fascinating cultural history of The Blue Angel provides a new interpretive framework with which to approach this classic Weimar film and suggests that discourses on mass and high culture are integral to the film's thematic and narrative structure. These discourses surface above all in the relationship between the two main characters, the cabaret entertainer Lola Lola (Marlene Dietrich) and the high school teacher Immanuel Rath (one-time Oscar winner Emil Jannings). In addition to offering insight into some of the major debates that informed the Weimar Republic, this book demonstrates that similar issues continue to shape the contemporary cultural landscape of Germany. Barbara Kosta thus also looks at Dietrich as a contemporary cultural icon and at her symbolic value since German unification and at Lola Lola's various "incarnations.
With the same flawless storytelling that earned her the CWA Historical Dagger Award, Barbara Cleverly delivers a dazzling new novel. Sweeping us to the exotic island of Crete in 1928, Cleverly introduces a marvelous new heroine: whip-smart and spirited Laetitia Talbot, an aspiring archaeologist with a passion for adventure–and for the mysteries that only the keenest eyes can see. Born into a background of British privilege, Laetitia Talbot has been raised to believe there is no field in which she may not excel. She has chosen a career in the male-dominated world of archaeology, but she approaches her first assignment in Crete the only way she knows how–with dash and enthusiasm. Until she enters the Villa Europa, where something is clearly utterly amiss… Her host, a charismatic archaeologist, is racing to dig up the fabled island’s next great treasure–even, perhaps, the tomb of the King of the Gods, himself. But then a beautiful young woman is found hanged and a golden youth drives his Bugatti over a cliff. From out of the shadows come whispers of past loves, past jealousies, and ancient myths that sound an eerie discord with present events. Letty will need all her determination and knowledge to unravel the secrets beneath the Villa Europa’s roof–and they will lead her into the darkest, most terrifying place of all….
The animal trainer recounts her Dublin childhood, her travels, her marriage, and her experiences as a dog trainer, horse breaker, importer of polo ponies, author, and television personality
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