When the name "Hitler" is mentioned, nothing occurs to me' – so said Karl Kraus. For this leading Viennese Jewish critic and intellectual the touchstone of art was ethics. How could he be speechless in the face of a threat to all that ethics means? To answer this question, the author makes a detailed chronological study of Kraus's intellectual activity as reflected in his work on the theatre. The results are presented in five chapters, each dealing with a different 'mask' adopted by Kraus during the period 1892-1936. Grimstad considers not only theatre and drama criticism in Die Fackel and Kraus's dramatic writings, but also biographical data, to help uncover the rationale of his work. That rationale is the logic of the theatrical mode in which he lived and wrote. The stage was not only his subject matter, it determined what he would see and say. Grimstad argues that when Kraus wrote, his words were the speech of an 'actor' who was often infatuated with himself and obsessed with the need to overwhelm his rival 'actors.' When Hitler's storm-troopers began their march, he could say nothing for the world in which his thought took shape had become a world of theatrics, not 'Realpolitik.' Kraus criticized plays without reading them and performances without seeing them, obsessed with the belief that his was the voice of all that was true, good, and beautiful. Grimstad observes that he was a prophet who confused the divine inspiration with the Thespian urge, playing to an audience, using a mask for each of his roles, yet thinking he spoke to all mankind, bringing them pure ethos. This volume will be of particular interest to those working in the fields of theatre criticism, comparative literature, German literature, and Jewish intellectual history.
The provocative, audacious, brilliant six-volume autobiographical novel that has unquestionably been the main event of contemporary European literature. It has earned favorable comparisons to its obvious literary forebears "A la recherche du temps perdu" and "Mein Kampf" but has been celebrated as the rare magnum opus that is intensely, addictively readable.
Since the middle of the 19th century, biologists have migrated to the seashore to study marine organisms as a way of understanding life. By the turn of the 20th century, such work was being done inside permanent seaside field stations. The Stazione Zoologica, in Naples, Italy (from 1874), and the Marine Biological Laboratory, in Woods Hole, Massachusetts (from 1888), attracted leaders in many biological fields, and helped establish biology as a modern science. Why Study Biology by the Sea? tells the story of these unique scientific institutions while attempting to answer the contemporary question, "Why study biology by the sea?" The volume examines the origins and value of these places via perspectives that range from cell biology to philosophy of science"--
The fourth installment in the beloved, internationally celebrated My Struggle series from Karl Ove Knausgaard. My Struggle: Book 4 finds an eighteen-year-old Karl Ove Knausgaard in a tiny fishing village in northern Norway, where he has been hired as a schoolteacher and is living on his own for the first time. When the ferocious winter takes hold, Karl Ove--in the company of the Håfjord locals, a warm and earthy group who have spent their lives working, drinking, and joking together in close quarters--confronts private demons, reels from humiliations, and is elated by small victories. We are immersed, along with Karl Ove, in this world--sometimes claustrophobic, sometimes serenely beautiful--where memories and physical obsessions burn throughout the endless Arctic winter. In Book 4, Karl Ove must weigh the realities of his new life as a writer against everything he had believed it would be. "My Struggle: Book Four is an elegiac kind of comic novel, and it is pure Karl Ove Knausgaard. This is to say, it comprises intimate descriptions of daily life, descriptions that build to something improbably greater than the sum of their parts." --Dwight Garner, The New York Times
A family of four--mother, father and two boys--move to the South Coast of Norway to a new house on a newly developed site. It is the early 1970s and the family's trajectory, upwardly mobile: the future seems limitless. In painstaking, sometimes self-lacerating detail, Knausgaard paints a world familiar to anyone who can recall the intensity and novelty of childhood experience, one in which children and adults lead parallel lives that never meet. Perhaps the most Proustian in the series, Book Three gives us Knausgaard's vivid, technicolor recollections of childhood, his emerging self-understanding, and the multilayered nature of time's passing, memory, and existence. "Of course, I remember nothing from this time. It is completely impossible to identify with the infant my parents photographed; this is in fact so difficult it almost seems wrong to use the word 'I' when referring to it, lying in the baby bath, for instance, its skin unnaturally red, its arms and legs sprawling, and its face distorted in a scream no one remembers the reason for anymore ... Is that creature the same as the one sitting here in Malmö, writing this?" --from Book Three of My Struggle More praise for Book Three: "A superbly told childhood story ... Knausgaard writes about everyday life as a child with a flow and continuity that all hangs together ... the text has a gravitational pull that draws the reader in only further." --Dag Og Tid (Norway) "An aesthetic pleasure ... A patient, chiseled, and intense portrayal of a child's sensory experience. Book Three is a classic." --Klassekampen (Norway) "Compelling reading ... Knausgaard has an equally good eye for small and large events." --Aftenposten (Norway) "A gripping novel ... This childhood portrayal drifts off with a lightness and sensitivity that not many will associate with him ... There is no doubt that the series is worth following the author all the way." --Dagens Næringsliv (Norway) "The man can write a novel about a solid, pretty traditional upbringing too ... A sensitive, sharp depiction of growing up in the 70's." --Adresseavisen (Norway)
Karl Kraus: Introduction -- With my narrow horizon -- Riddles out of solutions -- In hollow heads -- In this war we are dealing... -- Not for women but against men -- Lord, forgive them... .
A brilliant and personal examination by sensational and bestselling author Karl Ove Knausgaard of his Norwegian compatriot Edvard Munch, the famed artist best known for his iconic painting The Scream In So Much Longing in So Little Space, Karl Ove Knausgaard sets out to understand the enduring and awesome power of Edvard Munch’s work by training his gaze on the landscapes that inspired Munch and speaking firsthand with other contemporary artists, including Anselm Kiefer, for whom Munch’s legacy looms large. Bringing together art history, biography, and memoir, Knausgaard tells a passionate, freewheeling, and pensive story about not just one of history’s most significant painters, but the very meaning of choosing the artist’s life, as he himself has done. Including reproductions of some of Munch’s most emotionally and psychologically intense works, chosen by Knausgaard, this utterly original and ardent work of criticism will delight and educate both experts and novices of literature and the visual arts alike.
The final sixth installment in the long-awaited, internationally celebrated My Struggle series from Karl Ove Knausgaard. The full scope and achievement of Karl Ove Knausgaard’s monumental work is evident in this final installment of his My Struggle series. Grappling directly with the consequences of Knausgaard’s transgressive blurring of public and private, Book 6 is a troubling and engrossing look into the mind of one of the most exciting artists of our time. Knausgaard includes a long essay on Hitler and Mein Kampf, particularly relevant (if not prescient) in our current global climate of ascending dictatorships.
Invertebrate cell culture is increasingly being used in various areas of biological research. Research in cellular biology and pathology that previously depended primarily on in vitro investigations of vertebrate animal cell systems is now being conducted using invertebrate cells. Specialists and pioneers from the United States, Japan, Switzerland, Slovakia, and China have presented original contributions to create a well-balanced cross-section of current developments. Topics discussed include the preparation of cell culture media; cultivation of mosquito, lepidopteran, grasshopper, and tick cells; the application of such cells to mammalian and plant virus research; and diverse applications in medicine, biology, and agriculture. A special chapter devoted to the work of Japanese cell culture pioneers is also featured. All chapters are supported by tables, photographs, and up-to-date bibliographies.
At eighteen years, old Karl Ove moves to a tiny fisherman's village in the far north of the arctic circle to work as a school teacher. No interest in the job itself, his intention is to save up enough money to travel while finding the space and time to start his writing career. Initially everything looks fine. He writes his first few short stories, finds himself accepted by the hospitable locals, and receives flattering attention from several beautiful local girls. But as the darkness of the long arctic nights start to consume the landscape, Karl Ove's life takes a darker turn. His writing repeats itself, his drinking escalates to some disturbing blackouts, his attempts at losing his virginity end in humiliation and shame, and to his distress, he also develops romantic feelings towards one of his students. Along the way, there are flashbacks to his high school years and the roots of his current problems. Ever present is the long shadow cast by his father, whose own sharply increasing alcohol consumption serves as an ominous backdrop to the author's lifestlye.
In Self-Portrait: Between the Clock and the Bed, the elderly Edvard Munch stands like a sentinel in his bedroom/studio surrounded by the works that constitute his artistic legacy. A powerful meditation on art, mortality, and the ravages of time, this haunting painting conjures up the Norwegian master’s entire career. It also calls into question certain long-held myths surrounding Munch—that his work declined in quality after his nervous breakdown in 1908–9, that he was a commercially naive social outsider, and that he had only a limited role in the development of European modernism. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana} The present volume aims to rebut such misconceptions by freshly examining this enigmatic artist. In the preface, the renowned novelist Karl Ove Knausgaard considers Munch as a fellow creative artist and seeks to illuminate the source of his distinctive talent. The four groundbreaking essays that follow present numerous surprising insights on matters ranging from Munch’s radical approach to self-portraiture to his role in promoting his own career. They also reveal that Munch has been an abiding inspiration to fellow painters, both during his lifetime and up to the present; artists as varied as Jasper Johns, Bridget Riley, Asger Jorn, and Georg Baselitz have acknowledged his influence. More than sixty of Munch’s paintings, dating from the beginning of his career in the early 1880s to his death in 1944, are accompanied by a generous selection of comparative illustrations and a chronology of the artist’s life. The result is an intimate, provocative study that casts new light on Munch’s unique oeuvre—an oeuvre that Knausgaard describes as having gone “where only a painting can go, to that which is beyond words, but which is still part of our reality.”
Die deutsche Kühlschiffsflotte war nach dem Zweiten Weltkrieg lange Jahre eine der führenden der Welt. Die "Bananenjäger" mit ihrem yachtähnlichen Aussehen erregten in jedem Hafen besondere Aufmerksamkeit. Heute befinden sich Kühlschiffe im harten Wettbewerb mit den Containerlinien, wobei guter Service und kurze Transitzeiten den Reefern zumindest mittelfristig ein Fortbestehen garantieren. Vom Ende des 19. Jahrhunderts bis heute wurden knapp 400 dieser Schiffe von deutschen Reedereien betrieben. Die Autoren sind zwei ausgewiesene Schifffahrtsexperten, Karl-Heinz Hilbig und Karsten Kunibert Krüger-Kopiske, dessen neun bisher erschienenen Bücher vor allem, aber nicht nur, durch seine perfekten Zeichnungen auffielen. In diesem Buch stellen die Autoren jedes der über 400 deutschen Kühlschiffe mit technischen Daten, Lebensläufen, Zeichnungen und Fotos vor. Die Geschichte jeder deutschen Kühlschiffsreederei ist ebenso Bestandteil des Buches wie Texte zu wichtigen geschichtlichen, technischen und wirtschaftlichen Hintergründen, die zum Verständnis der Branche beitragen. Mehr als 50 teilweise unveröffentlichte Fotos und Gemäldereproduktionen runden das Werk ab.
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