Now a New Directions book, the legendary novel that is “equal to the best of Virginia Woolf and Samuel Beckett” (New York Times Book Review) In Malina, originally published in German in 1971, Ingeborg Bachmann invites the reader into a world stretched to the very limits of language. An unnamed narrator, a writer in Vienna, is torn between two men: viewed, through the tilting prism of obsession, she travels further into her own madness, anxiety, and genius. Malina explores love, "deathstyles," the roots of fascism, and passion.
These two fragments of novels, Ingeborg Bachmann's only untranslated works of fiction, were intended to follow the widely acclaimed Malina in a cycle to be entitled Todesarten, or Ways of Dying. Although Bachmann died before completing them, The Book of Franza and Requiem for Fanny Goldmann stand on their own, continuing Bachmann's tradition of using language to confront the disease plaguing human relationships. Through the tales of two women in postwar Austria, Bachmann explores the ways of dying inflicted upon the living from outside and from within, through history, politics, religion, family, gender relations, and the self.Bachmann's allegiance to the twin muses of memory and history, as well as her perception of fascism as not being limited to the context of the war but also existing within the intimate relations of everyday life between husbands and wives, brothers and sisters, psychiatrists and patients' are supremely evident in The Book of Franza. Here, Bachmann follows a woman who escapes from a sanitorium and, after years of silence, sends her brother a cryptic telegram. Rightly suspecting that she has fled her sadistic husband -- a renowned Austrian psychiatrist whose intimate relations have merged with his studies of concentration camps -- her brother finds her in their childhood home. Together they travel to Egypt, where Franza slowly begins to regain her bearings. But Franza's desire to cleanse herself by journeying into the heart of the desert's void ends in tragedy, as she becomes the victim of a horrible act of violence.Unlike Franza, who attempts to flee her past but fails, the heroine of Requiem for Fanny Goldmann makes no attempt to escape her history. Thisnovel tells of the demise of a Viennese actress who is manipulated by a younger, ambitious playwright to advance his career. Deception follows disloyalty; the final treachery comes when the playwright portrays her in a novel, which secures his fame and, in Fanny's eyes, robs her of her future. Caught in a perpetual stasis, Fanny suffers in total obscurity, as her present is stolen from her as well.Whether analyzing the place where the self begins and the power of history ends or the ways in which women are forced to be complicit in their mistreatment at the hands of men, Bachmann's critical approach to the human psyche is unparalleled. Mesmerizing and profound, The Book of Franza and Requiem for Fanny Goldmann constitute the final evidence that Ingeborg Bachmann is the most important female German-language writer of the postwar period.
The first English translation of the essays, lectures, and other critical writings of the celebrated Austrian poet, novelist, and public intellectual, one of the most influential postwar writers in German.
These two fragments of novels, Ingeborg Bachmann's only untranslated works of fiction, were intended to follow the widely acclaimed Malina in a cycle to be entitled Todesarten, or Ways of Dying. Although Bachmann died before completing them, The Book of Franza and Requiem for Fanny Goldmann stand on their own, continuing Bachmann's tradition of using language to confront the disease plaguing human relationships. Through the tales of two women in postwar Austria, Bachmann explores the ways of dying inflicted upon the living from outside and from within, through history, politics, religion, family, gender relations, and the self.Bachmann's allegiance to the twin muses of memory and history, as well as her perception of fascism as not being limited to the context of the war but also existing within the intimate relations of everyday life between husbands and wives, brothers and sisters, psychiatrists and patients' are supremely evident in The Book of Franza. Here, Bachmann follows a woman who escapes from a sanitorium and, after years of silence, sends her brother a cryptic telegram. Rightly suspecting that she has fled her sadistic husband -- a renowned Austrian psychiatrist whose intimate relations have merged with his studies of concentration camps -- her brother finds her in their childhood home. Together they travel to Egypt, where Franza slowly begins to regain her bearings. But Franza's desire to cleanse herself by journeying into the heart of the desert's void ends in tragedy, as she becomes the victim of a horrible act of violence.Unlike Franza, who attempts to flee her past but fails, the heroine of Requiem for Fanny Goldmann makes no attempt to escape her history. Thisnovel tells of the demise of a Viennese actress who is manipulated by a younger, ambitious playwright to advance his career. Deception follows disloyalty; the final treachery comes when the playwright portrays her in a novel, which secures his fame and, in Fanny's eyes, robs her of her future. Caught in a perpetual stasis, Fanny suffers in total obscurity, as her present is stolen from her as well.Whether analyzing the place where the self begins and the power of history ends or the ways in which women are forced to be complicit in their mistreatment at the hands of men, Bachmann's critical approach to the human psyche is unparalleled. Mesmerizing and profound, The Book of Franza and Requiem for Fanny Goldmann constitute the final evidence that Ingeborg Bachmann is the most important female German-language writer of the postwar period.
Now a New Directions book, the legendary novel that is “equal to the best of Virginia Woolf and Samuel Beckett” (New York Times Book Review) In Malina, originally published in German in 1971, Ingeborg Bachmann invites the reader into a world stretched to the very limits of language. An unnamed narrator, a writer in Vienna, is torn between two men: viewed, through the tilting prism of obsession, she travels further into her own madness, anxiety, and genius. Malina explores love, "deathstyles," the roots of fascism, and passion.
Die zweisprachige Auswahl von Ingeborg Santors Gedichten, ausgewählt und ins Englische übertragen von Ruth Ingram, bietet einen Querschnitt durch die Jahre 1993 bis 2021. Die Themen dieser Lyrik sind breit gefächert; ein wichtiger Bereich ist die Natur in all ihren Erscheinungsformen und in ihrer zunehmenden Gefährdung heute. Ebenso thematisiert die Autorin eigenes Erleben, Fühlen, Denken und verliert dabei nahe und ferne Menschen nicht aus dem Blick. Ingeborg Santor und ihre Übersetzerin sind seit 20 Jahren befreundet und ebenso lange geübt in einer der Poesie verpflichteten Zusammenarbeit über sprachliche Grenzen hinweg.
Commercial gambling is a recent historical phenomenon. It has developed into a profitable industry that supplies a range of recreational activities to its customers, and is a significant way of collecting money from players to distribute to companies, state budgets, and other beneficiaries. Many of these are civil society organizations, using the money for producing services in sports, culture, social work, and health care. However, gambling can also develop into pathological behaviour. Using a public interest framework, this book discusses the policies that will best serve the public good and minimize individual and collective harms. After describing the historical context of the gambling and the current global burden of the activity, available methods of regulating the industry are evaluated using the available scientific evidence. By analysing the effectiveness of gambling policies and their alignment with the public interest, the epidemiological obstacles to successful regulation are considered in detail. There is good evidence for the effectiveness of restrictions on availability and access, but preventing gambling-related harm is not possible without limiting the overall volume of the activity, and hence the profits for the gambling industry and governments. Taking an international approach, this book delivers a comprehensive review of the epidemiological evidence documenting the harmful effects of gambling on individuals, communities, and societies. Essential reading for policymakers, social and behavioural scientists in gambling research, and public health researchers, Setting Limits examines a global view of an emerging epidemic of gambling problems.
Sustaining Sustainability is an inside story on the state of the art of national strategies for sustainable development in nine EU member states, with a particular focus on the role of national councils for sustainable development (SDC) in producing and implementing SD strategies (SDS). Such councils have been created by national governments, stimulated by the Agenda 21, with the purpose of fostering dialogue for SD among stakeholders, and between stakeholders and government, as well as monitoring progress and encouraging initiatives. The study was financed by the participating councils and supported by EEAC, the European network of advisory councils for environment and sustainable development. All 6 countries in the European Union with a well-established SDC participated (B, D, FIN, IRE, P, UK), plus three countries with environment or other councils engaged in the SD agenda (HUN, NL, S). 7 countries have a SDS and one is currently developing one; some have already seen at least one revision phase. With an in-depth approach the study attempts to look behind the curtains of SD processes."--Executive Summary.
»Malina«, der erste und einzige Roman der Lyrikerin Ingeborg Bachmann, ist das Buch einer Beschwörung, eines Bekenntnisses, einer Leidenschaft. »Malina« ist wohl die denkbar ungewöhnlichste Dreiecksgeschichte: weil zwei der Beteiligten in Wahrheit eine Person sind. Das Buch handelt von nichts anderem als von Liebe, es zeigt die Einsamkeit dessen, der liebt. Ein radikales Buch, das seit seiner Erstveröffentlichung vor vierzig Jahren nichts an seiner Kraft verloren hat.
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