Das glückliche Taschenbuch: Warum Wünschen kein Märchen ist (German Edition)

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The relationship between the Enlightenment and superstitious beliefs has either been oversimplified as a basic opposition, or complicated by the recognition that the commitment to reason works as a new form of superstition. Prior scholarship has recognized the German ghost story as a primarily nineteenth-century phenomenon. This dissertation uncovers the roots of the German ghost story in unlikely texts from the eighteenth century and suggests that the relationship between ghostly apparitions and the Enlightenment was more complementary than oppositional.

Ghosts do not only represent the persistence of the past, they also disrupt the normal conditions of the present in a way that enables progress towards new possibilities in aesthetics and thought. Parents: This work has no parents. Tweet Share. Master's Papers Deposit your masters paper, project or other capstone work. Scholarly Articles and Book Chapters Deposit a peer-reviewed article or book chapter. Undergraduate Honors Theses Deposit your senior honors thesis. Scholarly Journals, Newsletter or Book Deposit a complete issue of a scholarly journal, newsletter or book.

It clearly warrants an investigation from the comparative angle. The reasons for offering a statistical chart in a work dealing with Don Juan are simple and persuasive: the noble seducer, incarnation of male prowess and endowed with an almost Herculean sexual Potenz, is, after all, a quasi-mythical or legendary figure whose exploits exceed the narrow bounds of verisimilitude. A quality rather than a person to use Kierkegaardian terminology , he can do the impossible.

From the human — all too human — perspective, such a figure will still seem hyperbolic, if not fabulous, whereas from the mythical perspective it will seem unnecessarily restrictive and, hence, disenchanting. Whatever the case, it is a compromise — a strictly narrative, or epic, device mediating between the levels of myth and plot. On the level of plot, a further reduction in the number of characters is, obviously, required to achieve manageable proportions and pre-.

This presents a serious problem, insofar as the fewer women the playwright-librettist introduces, the more representative they must be. Nor must one overlook a weighty pragmatic factor, namely the limited size of the operatic companies, stationary or ambulatory, that were active in the latter part of the eighteenth century.

In Prague, the Bondini troupe which premiered Don Giovanni in the fall of was even smaller than the one operating out of the Teatro Giustiniani di S. Having cut the number of dramatis personae from ten to eight by eliminating the part of the second servant Lanterna and distributing that of Donna Ximena among Donna Elvira primarily and Zerlina secondarily , Da Ponte thus still saw 13 The matter is taken up in Scene 2 of the Capriccio Kunze, p. The impresario promptly demonstrates his talents as a buffo caricato by singing an aria beginning with the lines In Teatro siamo adesso, Pronta sta la compagnia.

Kunze, p. To begin with Donna Anna who, being of noble birth, is a perfect match for the impetuous wooer: having the strength of character lacking in Elvira, she resists his rather brutal advances — one is tempted to say: manfully — and subsequently becomes the backbone of the counter-movement fighting for the restoration of order and morality.

Judging by her treatment of Ottavio, whom she loves rather primly and, it would seem, impassionately, she appears to lack sensuality, not to speak of erotic fervor. Yet, could not her seeming detachment be a mask, the persona 14 In their analyses of the opera, Hermann Abert and several other critics have underscored this fact and, by implication, suggested that it was Mozart who gave them their present melo-dramatic stature. Such, certainly, was the view taken by E. Als er hinausfloh, war die Tat geschehen. The last of the three verbs aligned in the infinitive is double-edged: used transitively, piegar means to bend, twist or, militarily, retreat: but used reflexively it means to yield or give way.

A representative of what might be called the upper middle class, she has fallen in love with, and yielded to, Don Giovanni, who has played his usual trick by vowing to marry her. In doing so, she attests, more poignantly than words can do, to his lasting appeal and to the undiminished fascination which he exerts. Cocksure of his success, he flaunts not only his manhood but also his social superiority, in order to bowl her over. The bella dama adds little variety since she seems to conform, more or less, to Elvira as a prototype, whereas the cameri-.

As for the placing of the list within the dramaturgical framework, it should be strategic — more so with regard to the audience in the pit and the gallery than in view of the characters on stage to which the catalogue is addressed. For cogent reasons, the catalogue records no failures such as the Don, whose luck is about to run out, is suffering before our very eyes. Its most suitable author is Leporello, the servant who doubles as bard and bookkeeper since his master, like all those active in the seduction trade, has no time or inclination to keep score The factotum greatly enjoys the counting, though not the reporting, which invariably exposes him to the wrath of the irate women from whom he is supposed to shield his master.

It cannot well be used as an. Diem and W. In this, but only in this sense, he is indeed what Pasquariello cynically calls him: il marito universale. The brief overview I shall attempt will not be exhaustive, nor even comprehensive, but will seek to pinpoint the chief varieties of its use in different contexts, and to outline its theatrical gesture and literary potential. I begin, ab ovo, with El Burlador de Sevilla, the matrix of all plays and operas on the subject. Gerald E. Mota: Cosa juzgada. Mota: A Vejel se va. Mota: Great changes, friend, have taken place In a short time. Juan: The women?

Mota: They Are Juan: Inez? Juan: A rare Abiding place if she be there. Mota: Time has retired her to that town. Juan: Time that must bring all beauty down. Mota: Ay, but it is sad To see the eyebrows she once had Grown bald now on her thinning hair. In short, the catalogue portion of the conversation is a specimen of low, coarse humor serving entirely satirical ends. Tisbea fa suo lamento e, buttandosi in mare, si annega. Appropriately, the lista per Policinella finds its place among the props robbe enumerated in an appendix to the scenario.

In a slightly later version of the play, published under the same title by the prolific Andrea Cicognini, we have a corresponding dialogue between Don Giovanni, his servant Passarino and the seduced girl Rosalba. The quotation appears on pp. Mimetic rather than verbal, the other feature invites audience participation and provokes audience reaction. Still a mere insinuation in Cicognini, it blossoms into an outright challenge in the Convitato di pietra which in an Italian troupe of comedians displayed in Paris.

The lists which their servant figures — Briguelle and Philipin — recite are unsophisticated and largely undifferentiated.

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Otto Rommel, series 13d, vol. The catalogue is missing in the majority of German popular and puppet plays on Don Juan. Amarante, manages, before being interrupted by the arrival of his master, to reel off the names of more than thirty women whom, in his pays natal, Don Juan has either seduced or raped note the coarsening of the tone! In such a work, aimed at literary connoisseurs rather than the hoi polloi, there is little room for popular entertainment and commedia-style lazzi. Yet, nodding in that direction, the librettist has Bibi most un-Leporello-like tell his master, upon arriving at an idyllic place where shepherdesses are seen fishing!

Allegrezza, padrone, Tien pur lesta la penna; Se non erra la vista, Ecco robba da scriver nella lista —. By and large, however, the aria, well ensconced by , had begun to lose some of its improvisational character, as method began to take the place of humorous madness.

None of these precedents could have sufficiently interested or impressed Da Ponte for him to wish to emulate or plagiarize it. He was,. Thematically, the organization of the aria is quite simple. Tutta a queste, gioja mia Tutta siete si per me is a grotesque and scaled-down version of the model, while the second evokes a ballroom scene dominated by Don Giovanni and his girl of the hour dancing to the tune of various instruments. In that recitative, Don Giovanni, still compared to the King of Macedon, is described as a person whose principal aim it is to transform the world of women into a harem: Il mio padrone invece, Che conquistar non vuol paesi, e ville A dieci, a cento, a mille Cerca di conquistar tutte le belle, Onde andiamo girando a quadro, e a tondo Per convertir in un serraglio il mondo.

Could it be that Mozart who, in Le nozze di Figaro, was so eager to supply music that he mistakenly composed a stage direction31, have blundered in this instance as well? Hardly so; for as the rhyme scheme of the first eight lines abbc deec , to which the music closely adheres, implies, Da Ponte wished the actual aria to begin at this particular point.

The last six lines of this segment are, once again, patterned after the model. At this point in the score, Mozart breaks the musical continuity by substituting an andante con moto for the opening allegro, while retaining the dominant key of D Major. This task completed, Leporello once again changes mood.

Now his sarcasm comes to the fore. Our critical survey, itself an annotated, historically sequential catalogue, has demonstrated — I hope successfully — that, both dramatically and melo-dra-. Per me Non confonderti. Siccome io dicoy che Alessandro il Grande Della Francia, e della Spagna Ve ne sono non so quante:. Il mio cor da gelosia Tutto sento a lacerar.

Egli non merta Che di lui ci pensiate Dei nomi di sue belle. Breig and H. Fladt Mainz: Schott, Following further cosmetic changes, primarily affecting Parts Three and Four, the final draft of the cycle appeared, at long last, in , thirteen years before the quadruple premiere in Bayreuth. There I have left him lying under the linden tree and have said farewell to him with heartfelt tears. There he is better off than elsewhere.

The first comprehensive outline of the tetralogy is sketched in letters to Uhlig Nov. Although the scenes in which previous events are recapitulated may at first seem redundant to audiences attending the whole cycle, Wagner considered them intrinsic to his overall plan. Structurally, Siegfried, a veritable tragi-comedy9, is peculiar in so far as it consists of two interlarded sets of scenes, those concerned with Siegfried and those dominated by the Wanderer i. Wotan in disguise. Conversation while Mime works at his forge. The origin of the Nibelungs, etc.

Kapp Leipzig, n. Borchmeyer Frankfurt, It is on these that we shall concentrate. Our understanding of the standard text will be greatly enhanced by tracing the evolution of certain significant traits, especially the change of tone from serious to mock-heroic. The following epitome of what would have been Act One of Siegfried shows him to be well-meaning and supportive: After a long pregnancy, the cast-out Sieglinde gives birth to Siegfried in the Wilderness [ Shortly after having given birth to Siegfried, Sieglinde dies, after telling Reigin her story and entrusting the boy to him.

The catch, which in the final poem is manifest from the beginning, is revealed only in a subsequent passage: Now Mime incites the youth to kill the worm, in order to show his gratitude. He leaves the cave [ Only after having done so, he fights and kills the dragon. In the prose version of the proto-Twilight of the Gods, for example, his hunchback foster-father is called a strong dwarf, splendid smith, and wise counsellor; and in the metrical version he appears, with alliterative force, as a manly creature, excellent smith and prudent counsellor to the orphaned boy In both versions of Siegfried he shows himself to be a windbag, hypocrite, liar, weakling and coward.

The fact that Mime, the clownish mimic, does not honour the truth is repeatedly demonstrated, although some of the apparent contradictions between the truth and his deceptive representation of it can be resolved by a comparison between the texts of Siegfried and Young Siegfried, which shows that Wagner was not uniformly successful in eliminating discrepancies That Mime is insidious and hides his dubious purposes under a torrent of deceitful phrases is made explicit when Siegfried, coached by the little Woodbird, learns to distinguish between essence and appearance.

II of his Life of Richard Wagner. How ironic, and yet how appropriate, that it is he who should offer to give lessons in fear! Having completed the prose sketch for Young Siegfried, he told his friend Theodor Uhlig of the discovery which,. If, once again, we search for evidence in the original plot outline of The Ring, The Nibelung Myth as Sketch for a Drama, we find that, at that point, Wagner had not yet linked fairy story and heroic legend, although even then he must have known that in the Teutonic legends Siegfried is commonly referred to as one who knows no fear, which, naturally, is a far cry from saying that, for whatever reasons, he must learn it.

The motivation furnished in 18 The letter was written on May 10, Into the world will I fare and learn fearing since I will never learn it from you. Wagner must have noticed that this was a grave lacuna and, resolving the issue in his mind, added a note which supplies the much needed rhyme and reason: Siegfried now feels himself quite free of Mime. He will leave him in order to go into the world: for this reason he once more demands the sword. Mime tries to instil into him fear of the world so as to keep him in the wood.

He paints for him one terror after another in the world beyond the wood. Mime must explain it. He describes fear. Siegfried cannot learn it and now will go forth just to learn it. Mime resolves quickly to teach it to him himself. In the corresponding passage of Young Siegfried, Wagner realizes this idea but unduly complicates matters by coupling the notion of fear with that of cunning List. Accordingly, in the text that finally emerged and served as a basis for the composition of the music, Mime does not teach Siegfried anything except speech, and even that reluctantly Siegfried, my son, you see it yourself: you will have to yield your life to me.

You get me all wrong. Although the intrinsic motif of fear was retained, it was altered from phase to phase of the creative process. Thus both in Young Siegfried and in Siegfried it is neither the protagonist nor Mime but the Wanderer who brings up the subject, and each time in a different manner. That is the next step, for once Siegfried has done the seemingly impossible by forging Notung, there can be no doubt as to who will kill him.

Yet, on second thought he realizes that he is now caught on the horns of a dilemma: if things are to work out as he wants, Siegfried must forge the sword and dispatch the dragon but, having been struck with fear in the process, must then meet his own fate: How do I hide my anxious head? It is forfeited to the bold youth unless Fafner teaches him fear. But woe, poor me! How would I attain the ring? Darned fix! Since the scenario that would suit Mime best — Siegfried killing Fafner and, in turn, being killed by him — is unlikely to be enacted, the resourceful dwarf literally concocts an alternate plan: he will cook a poisonous broth Sudel which he will dish up to the thirsty boy after the fight.

The plan backfires, and Siegfried emerges unscathed but without having learnt to fear. Still uncertain of his calling but acting on another hint from the Woodbird, he embarks on a new adventure. In her realm he is to acquire his sentimental education. What he is to learn now is a kind of fear that is in no way physical. Rather he, the loner, who has until now met only animals, dwarfs, giants and gods, is to become a thinking and feeling member of the human race.

Approaching the sleeping Valkyrie, he reflects: How do I, coward, feel? Is this what fear is? O mother! Your brave child! How conquer fear? How muster courage? To awake myself I must awaken the maiden. Fear it is, but of an entirely different order. Although the two seem to be equated in the drama — they are in no way differentiated in the text — the story simply does not make sense if there is no distinction drawn between them. This different type of fear is the first step in his experience of human love, which in turn gives him back the confidence to forget self-doubt.

Indeed, as soon as he has discovered what it feels like to be afraid in an emotional sense he also learns that another new experience, that of human love, enables him to overcome it. As the fire in the blood is kindled, as we pierce each other with our glances, as we burn in ardent embraces, my keen courage returns to me, and the fear, ah! Love, united with knowledge and free of anguish, is about to conquer the world and, in the process, topple the mythological edifice erected in the earlier portions of The Ring.

In gaining this insight, they have learned their lesson, and no further schooling is needed. Pariser Farce oder wienerische Maskerade? Richard Strauss1 Sein wir in Frankreich? Sein wir unter die Kurutzen? Oder in Kaiserlicher Hauptstadt? Ochs von Lerchenau2. Fischer, , S. Von hier an durchgehend als Dramen V zitiert. Was den Rosenkavalier selbst anbetrifft, so liegen zwar zahllose Arbeiten, Rezensionen usw. Es bleibt abzuwarten, was in dieser Hinsicht der inzwischen erschienene, von Dirk O. XXIII leistet. In: Modern Languages 39 , S.

Wie der Name dieser Figur andeutet, handelt es sich bei ihr um einen ausgesprochenen Typencharakter. Die Briefe, in denen diese Frage behandelt wird, finden sich in dem von Hilde Burger herausgegebenen Briefwechsel Frankfurt: Insel-Verlag, der beiden.

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Siehe vor allem S. Juli August Fischer, 2 , S. Gilbert erkannt, die freilich in ihrer Argumentation zu weit geht In: Modern Language Review 64 , S. Herbert Steiner Frankfurt: S. Wie Dirk O. Februar an seine Schwester. Und Hofmannsthal teilte Strauss am Die Skizze, die Kessler und Hofmannsthal zwischen dem 8.

Abgedruckt in Dramen V, S. Und Kesslers Bemerkung in einem Brief vom Februar Mai Sie freut sich auf die Ehe [ Mary E. So verlegte er die Begegnung kurzerhand in den Salon Gilbert Anmerkung 24 , S. Niveau der Opernhandlung stark angehoben wird. Soweit die Charaktere. So wurden der der Marschallin Maria-Theresia. Pourceaugnac ist pathetisch im komischen Sinn, weil er eine Zielscheibe des Spottes ist. Im Rosenkavalier dehnte er dieses Versteckspiel auch auf manche Nebenfiguren aus.

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So grob will Er sein? Gilbert Anmerkung 24, S. Bei Hofmannsthal, dessen lyrische Ader und psychologische Finesse von jeher Bewunderung erregten, erwer52 Ebd. II, S. Geronte kompromittiert vor der Hofgesellschaft. Faublas im Travesti meldet sich. Faublas erbleicht. Die Liebenden allein. Sophie ab zum Vater. A droite, premier plan, une autre porte.

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  4. Faublas, qui vient de sortir du lit, est dans sa petite culotte et chemisette de cavalier. Sa robe de nuit est sur un meuble. Und bei Hofmannsthal liest man: Das Schlafzimmer der Feldmarschallin. Neben dem Bett ein dreiteiliger chinesischer Wandschirm, hinter dem Kleider liegen. Auf einem kleinen Sofa links liegt ein Degen in der Scheide. Um wenigstens den Schein des Anstands zu wahren — wie sich sehr bald herausstellen sollte, bei weitem nicht genug, um die moralischen. Je me souviens de ma Sophie. Je la vis si belle!

    Ich will nicht den Tag! Da haben Dich alle! Wie der folgende Passus aus einem Brief des Dichters an den Komponisten vom Also [ Wenn man so hinlebt, ist sie rein gar nichts. Aber dann auf einmal. In den Gesichtern rieselt sie, im Spiegel da rieselt sie. Dramen V, S. Et il continua sans regarder sa femme. Hier sehen sich Germanistik und Komparatistik vor eine gemeinsame Aufgabe gestellt.

    Annina ebenso : Euer Gnaden werden sich schaden [ Juli an den Dichter schrieb. Oktavian [ Sophie [ Sperrst dich ein. Faninal mit gleichem Spiel zwischen ihr und Oktavian, der immer einen Schritt gegen den Ausgang tut, aber von Sophie in diesem Augenblick nicht loskann : Ah, springst noch aus dem Wagen.

    Auf Lebenszeit. Wie sich bald herausstellte, war das gar nicht so einfach. Oktavian hat sich gesetzt, sie stehen vor ihm. Mit Leib und Leben. Mondo rubaldo. Im Hintergrund links ein Alkoven, darin ein Bett. September August und Straussens Antwort vom Das gilt es zu beweisen. Man kann sich vorstellen, wie Hofmannsthals verfeinerter Geschmack auf diesen Edelkitsch reagierte. Beginnen wir mit dem Ingenu libertin.

    Als er sie sieht, erhebt sich Faublas, wohl mit schuldiger Miene, und entfernt sich ein wenig von Sophie. Doch sobald ihn die Marquise ruft, trennen sich die beiden, und einen Augenblick lang steht Faublas genau in der Mitte zwischen ihnen M F S Sophie macht der Marschallin einen verlegenen Knix. Oktavian zwischen beiden hin- und herpendeln Aber die letzte Entscheidung ist noch nicht gefallen. So geriet das ganze Libretto in unser Blickfeld. So schrieb Kessler am Hofmannsthal erwiderte am Das eigentliche Publikum verlangt [ Friedrich Nietzsche2.

    There are surely more than thirteen ways of looking at opera, and any scholar or critic worth his salt is well advised to make up his mind early on as to the kind of approach he wishes to take in a given case. Up to this point in the history of interdisciplinary studies involving the musical drama, theoretical and methodological reflections have been few and far between, and no latter-day Aristotle has come to the rescue to unfold a cogent systematic Poetics of Opera3.

    Especially the. Dieter Borchmeyer Frankfurt: Insel-Verlag, , p.


    It will therefore behoove me to preface my paper with a few observations on the various choices open to the practitioner of Opernforschung in general and its subdivision, librettology, in particular. Needless to say, both Musik- and Literaturwissenschaft err when assuming that either the libretto or the score of an opera can be meaningfully viewed in isolation. An interaction between the two disciplines is absolutely necessary, and an emphasis on one or the other collaborative art at the expense, or to the exclusion, of the other is merely a matter of convenience or professional competence.

    Let us illustrate this tripartite and, in the original sense of the word, trivial scheme with a few examples drawn from the literature on Tristan und Isolde. But insofar as chromaticism also subserves a dramatic purpose, even here the literary dimension is not lacking. In short, Wagner, too, seems to treat Tristan und Isolde more or less as a symphonic poem Given the fact that Wagner was an artistic Doppelbegabung of the first order who believed that language and music — the male and female principles — were destined to join hands in marriage, it is hardly surprising that most of the devices he uses, and often introduces, pertain somehow to both spheres of artistic activity and should ideally be judged by those endowed with scholarly Doppelbegabung.

    In the 6 The letter was addressed to Franz Brendel and published on 9 September, ; it is reproduced in the Dokumentarbiographie, pp. Berlin: Duncker, , p. Gerhard Schuhmacher Darmstadt: Wissenschaftliche Buchgesellschaft, , pp. Among the features that enjoy what might be called dual citizenship in the land of opera, the most obvious, and obsessively treated, is the leitmotif. Indeed, in some of its applications it must be regarded as a quasi-literary device transferable to literature Thomas Mann. Jahrhundert, ed. Salmen Regensburg: Bosse, , pp. Since it was intended for performance in the theater, Tristan und Isolde shares certain basic structural features with all plays; hence the option of treating it within a dramaturgical framework, following the examples set by Francis Fergusson14 and Kerman, whose analysis of the paroxysmal cycle experienced by Tristan in Act III is primarily, though not exclusively, structural In fact, thematology as practiced by a long string of critics from Wolfgang Golther to Michael S.

    Batts and Egon Voss has long been a staple of Tristan und Isolde criticism The fifth chapter of Michael S. A third road toward the comprehension of Tristan und Isolde as a literary phenomenon — the one, curiously enough, least travelled in the year reception of that masterpiece — is the verbal or linguistic one. The few efforts that have been made to assess the work from this point of view have been largely polemical. The piece.

    Dietmar Holland Hamburg: Rowohlt, includes several of the essays previously mentioned. On the lexical level, Wagner, who prided himself on being a perceptive etymologist, excels or, in the eyes of his severest critics, sins in proliferating neologisms, some of which form part of a carefully designed pattern.

    Syntax is another subject warranting closer scrutiny than has so far been accorded it, for simply to affirm that the text is muddled throughout and an early example of willed unintelligibility is an act of critical cowardice. A whole. In fact, in dealing with rhetorical figures, I have already arrived at the level of Gehalt, which must now occupy us for a moment.

    Seeking to discover an integral meaning in Tristan and to determine its underlying Weltanschauung has been the occupation of many Wagnerites, often indulged in with a passion rarely encountered in scholarly pursuits. Since I shall face the philosophical issue head-on in the course of analyzing a central passage from Act II, the only kind of approach I need to deal with at this juncture focuses on the sexual issue. With respect to the role of sex in Tristan und Isolde, two scholarly factions are at loggerheads with each other, the one upgrading, the other downplaying its importance.

    All textual references will be to this edition. Except in one potentially significant case, the discrepancies between this version and the one found in vol. Stage directors, take care! Whatever the merits of this assessment, the analysis fails to take into account that the text is not strictly Christian and that Tristan und Isolde aims not at renunciation but at fulfillment.

    Depending on the mood of the moment and, one guesses, his readings of the day, he planned at different times to end his drama in different ways. Ils sont ensemble et pourtant ils sont deux. See pp. With two mutually exclusive endings, contradictions abound, but may be resolved with reference to Die Sieger, the Buddhist drama about renunciation of carnal love as a precondition for the release from earthly fetters and for rejoining the God in his Nirvana.

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    This work was to have formed a diptych with Tristan und Isolde. Wagner never proceeded beyond a brief prose sketch39; but the work, pondered for many years, entered the mainstream of his art by way of Parsifal. Two letters to Liszt written within the space of three months indicate how Wagner hoped to extricate himself from the dilemma caused by the conflicting views.

    Hatto Harmondsworth: Penguin Books, It is dated 16 May, Martin Gregor-Dellin [Munich: List, ]. Here: pp. We must look, first of all, at the sequence of events relating to the genesis of Tristan und Isolde, in order to ascertain whether the words came before the music prima le parole e dopo la musica As it turns out, the matter is more complicated, and the answer less decisive, than one would wish it to be. The documents at our disposal indicate that Wagner began to think about writing Tristan und Isolde in late The direct impulse for that enterprise was his response to another dramatic 41 Briefwechsel zwischen Wagner und Liszt, p.

    Unfortunately, this sketch has not survived. After a two-year period of gestation, Wagner decided in mid to carry out the project. The first musical sketches for Tristan, most likely based on the early outline, were made in December, However, the systematic, sequential Vertonung did not begin until after the libretto was finished. Wagner completed the full score of Act I on 3 April, , in.

    Zu manchem werde ich wohl auch eher die Musik als die Verse machen. In January , the score in its entirety was published, but five years elapsed before the premiere of the opera on 10 June, , at the Munich Hof- und Nationaltheater These are the ascertainable facts and the raw chronological data.

    Muscha's story is told from the perspective of another school boy and the reader, as Muscha himself, is kept in the dark about the real grounds for his suffering until the end of the novel. Only in an epilogue does it become clear that the story of Muscha is absolutely authentic. They are hindered only by the chains which bind them to Happy Juran's caravan wagon. Though Zadek feels chained up, Mischa has forgotten what freedom is. Only as a bear cub could he run over meadows and rob beehives of honey, before Juran made him into a dancing bear.

    The two runaways make their dreams come true; now and then one sees them roaming happily through the woods. The text is pleasing on the one hand for its unsenti- mental portrayal of the sad lot of captive animals and still it offers the most splendid situational comedies which arise from man and animal trying to live together but having only a limited amount of mutual tolerance. Full-sized black-and-white pictures by Reinhard Michi contribute to this reading pleasure. But the whole touchy matter only gets off the ground when the Moll family takes their holiday at home.

    This is a cheerful and slightly ironic story about the apparently so very taken-for-granted living conditions and expectations of people in West Europe. Argument - Neighbor - Wall - Reconciliation It is the wish of the combative shadow-monsters, Morgler and Abenil, to let the wall of the soul between Ferdinand and Fridolin and the stone wall between their gardens grow higher and higher. When the hobo, Wall-flower, decides to take a nap on the little wall, he is able to take the role of a nonpartisan mediator. With the support of Wittkamp's illustrations, the author successfully portrays the wrongs of a groundless enmity and the satisfying reconciliation of the opposing parties.

    Frau Meier, die Amsel Mrs. Meier, the Blackbird Wuppertal: Hammer, Meier live a quiet and fairly uncomplicated life - until a blind baby blackbird lands in their pumpkin patch. Meier raises it, feeding it worms and flies all day and night. The crowning moment of her efforts comes when the little bird learns to fly. Meier must herself take to flight before the blackbird dares to try.

    Meier has never seen his wife so happy. Since Erlbruch's stories are not necessarily limited to earthly matters, the theme, tone and pictures of this book fit together exquisitely. In this version everything is possible and in the end they are ten again. This small-sized book, designed to be carried about anywhere by children and adults, to be told and looked at again and again, is pleasing in both word and picture. Here a girl tries to get her glass ball back out of the fox's yard. Only by breaking a number of rules can she find her ball again.

    When she flees, the animals whom she meets during her flight promise not to betray her, but do so anyway as soon as the fox makes inquiries about her. The fox, the girl and the glass ball were never seen again. The repetitive style of this fairy-tale plot finds its visual counterpart in the regular spatial design of the pages. Thus the dynamics of the plot and the statics of the symbolism balance each other out. The animals are being tormented, their food is running out. The she-wolf, Aischa, the little pig, Ludwig, and the raven Kolja succeed in breaking out of their cages and finding a way to the mountains.

    Tonio, the son of the animal trainer, successfully pursues them in order to save them from being killed. The author describes the ordeal of the captive animals and their longing for freedom with considerable sympathy. The satirical manner of the artist, as he supplements and interprets the content of the tales, occasionally offers new ways of looking at familar tales.

    Numerous full-paged illustration plates give this attractively designed, voluminous edition the character of a home treasury, ever ready to be leafed through, looked at and read aloud. Thus she is pleased to have the friendship of two older gentlemen in the bookstore across the street who in turn encourage her love for literature. When the suspi- cion is raised that Jette is being sexually molested there, her magical fairy tale world is destroyed.

    She feels humiliated by suspicious adults who think they know everything. Full of insight, but avoiding sensationalism, the author writes about this volatile issue from an unusual point of view. ISBN Italy - Germany - Cat - Psychology - Leadership Tomcat Nero, six weeks old, is the self-appointed boss of an Italian farmyard thanks to his lion-like bravery which verges on brazenness.

    He manages to travel to Germany with a family of animal-loving German tourists, to a cat's paradise, and even brings his little naive, blue-eyed, cross-eyed sister Rosa along, too. With unsentimental, laconic humor the author writes this glorious story of the macho-mafioso Nero the Lionhearted for all cat fans, young and old alike. ISBN Carribean - Everyday life - Outsider - Brother - Color of skin The inhabitants of the Carribean took the proud traditions of their peoples seriously as long as their own daily life was intact. For instance, evil spirits were made responsible for the light complexion of a baby's skin when an albino was born.

    The reader discovers in an entertaining but stirring way through one Carribean family many essential facts about this people, whose values have not been able to survive within the Western civilization. ISBN Ecology - Water - Mussels - Pearls - Folktale A folktale, the ecological problems of today's world and the story of one girl's growing up are united in this novel by a fascinating plot. Margarete feels especially drawn toward the brook and its meadowlands.

    When the waste water of the new factory cause disease among the clams in the brook, she risks her life to prevent an ecological disaster. The author succeeds in portraying contemporary issues in their social and historical context in conjunction with the developments in the life of a young protagonist. Patiently and with much fantasy he tries to get to know the stone age men's a way of life, though it is very strange to him. In particular their language is incompatible with his own rich, modern-day vocabulary. Hence he turns to creating words by using somewhat linguistic techniques of onomatopieia to explain the advantages of cooking and the possibilities of modern technology to the cave men.

    This is a charming story full of wit and subtle connotations told in an easy-going, unconventional narrative style. Germany German - - 86 Brum, Alexa ed. Heuberger, Rachel et al. Ignatz, Bubis preface Ich bin, was ich bin, ein Jude. But their approach to life is marked above all by the wish to live an absolutely normal life within German society. Books of this type can be the beginning of a necessary opening of the general interest in Jewish matters.

    In an appendix further information about Jewish culture and history are included. He counts his friends, but not his enemies for it is an honor to be included in Tiger's count , and everything that creeps and flees. The reader can practice too, in memory of the nice days of counting with little Tiger. This is probably what Dodo thinks, after her birthday wish for such a fish was fulfilled.

    It can turn red and blue and multi-colors when it wants to. It can run around the table with Dodo and Dodo can swim with it in the aquarium. They want to find out which is better, running or swimming. Naturally they do all this only in private, without any family audience. The text and illustrations hit the bull's-eye of the secret world of children and fyshes, just as one would expect from this author-illustrator team.

    Who Has Seen the Bear? So he looks for the forest while his keeper looks for him. In general it is merely known that the bear possesses the ability to stand on his hands and on his head and to wiggle his ears. However, the author admits that he made up this bear. Uwe Kant gives younger children a funny story and quite incidentally a first introduction into the method and purpose of literary story-telling. Ostereier Easter-Eggs Esslingen: Schreiber, ISBN Easter Egg - Nonsense This unusual picture book is an incentive for an entertaining egg hunt and riddle solving at Eastertime and anytime, where ever eggs can be searched for and found: in the woods, on the catwalk, and even in egg paradise.

    The painter from Lithuania, who did this book especially for the German publisher, lets richly detailed, brilliantly colored pages tell his story. Each of them has had to deal with death. Seada's brother and her father died in the Yugoslavian civil war. Corinna's twin sister died as a baby. The author succeeds in vividly portraying the considerable differences in experience between the two children.

    Minor features of everyday life become important due to the different associations each makes. The reader learns how the two girls together succeed in getting over the catastrophic experiences of their childhoods. Germany German - - 92 Merten, C. Gestehen Sie, Dr. Confess, Dr. Berlin: Elefanten Press, But soon they make an unexpected discovery while trying to help an indisposed Mary and find themselves on the trail of a crime. With much humor, the author pokes fun at television reality, where virtual and genuine reality can hardly be distinguished from one another anymore. ISBN House-sharing - Family - Friendship - Role-switch Jonas has two moms, two dads, five grannys and three grandpas, as well as several half-brothers and half-sisters because his parents are divorced and remarried.

    His friend Pablo and his mother, who is also separated from her husband, shares a flat with others. Jonas and Pablo decide to switch families on a trial basis, but this doesn't work out. Jonas comes to the realization that to get a divorce one must be an adult. A delightful reminiscence on the days of the student revolution generation, which only partly succeeded in finding new forms of family-style living.

    Yet she had given her word of honor to her brother that she would not do so. When the Russian army approaches, the soldiers take revenge for all the injustice suffered at the hands of Germans by randomly shooting down most of the village inhabitants. The young Russian is not there to save Anna's family. He had already been shot by her fanatic brother. The author succeeds in rendering an extreme situation in a impressive literary form.

    He tries to be a pig: puffs himself up, wallows in pink paint and puts on a cardboard snout. But when he discovers that the usefulness of a pig is calculated in pounds, he prefers to find a more intellectual occupation. He pricks anyone who picks on other people. To everyone's joy, these bad-tempered people become ready and willing to improve themselves. This is a parable about the role of material and spiritual values in life. Das geht doch nicht! That Won't Work! No one can or wants to try to stop her, but they grow more and more amazed. It appears to be something gigantic.

    The family is already celebrating under the Christmas tree in the kitchen there is not enough room anywhere else when the beloved child finally reveals the secret. The family is given a ship, big enough for them all to fit into, and they immediately go off to the sea, even though the necessary demolition of the apartment house in order to get the ship to water is rather disturbing to some of them.

    This affectionate-ironical story about the situation of the youngest children, who are both gifted and pampered, and whose wishes are hard to refuse. The illustrations supplement the events of the plot in a very successful, chaotic manner. The director is trying to track down his family roots.

    He and his oriental friend become younger and younger the longer the journey lasts. This is a fantastic, but worldly novel written as a series of episodes from the mysterious world of the circus. The progress of his journey is burdened by the unexpected arrival of an at first unwelcome young female accompaniment. Surprisingly it turns out that the success of the entire undertaking would be questionable without her assistance. The author gives a captivating account of the peoples and landscape of the far North.

    With this example of the fate of an unusual woman, the reader is presented with a vivid segment of the history of political upheavals and the beginnings of women's liberation in Central Europe. Even younger children will be able to understand how literature and life influence one another with this short biography. As a young boy Lorca lived amidst the other children in his surroundings as a dreamy outsider.

    Up to his early death in the Spanish Civil War, writing poetry was an existential necessity in his life, which the author cautiously tracked down. But his uncle has been murdered to mention only the beginnings of this pleasureably told satire-detective story.

    Uncle Ludwig's well-preserved corpse is hidden in the horror house where Wilfried works. The story is settled to everyone's satisfaction and the bad guys get their just reward. With a black but not bitter humor, the author sketches the dark and lighter sides of humanity, much to the pleasure of the reader. At the end of the war the family returns to Germany, but now it is Regina who loses her beloved African home. This literary and extremely captivating text gives an authentic portrait of a child growing up in a foreign culture.

    When, in the winter of , he makes a remark about listening to enemy radio stations, there seems to be such danger for the family that the father goes underground and Heinrich is sent away to Pomerania. He is still there when the war ends and they must flee from the Red Army across the ice of Frisches Haff on the Gulf of Danzig. Bombs are dropped on the refugees and terrible things happen. Though Heinrich survives and finds his father again, their family is destroyed; Heinrich grows up in an orphanage. Based on his own biography, the author vividly recalls the war and post-war years of fifty years ago.

    His bottom side is also in action? Papa has nothing better to do than stare in amazement. The witty words and illustrations describe this elementary family situation. Das Wunderei The magical egg Hamburg: Carlsen, He succeeds in getting the miniature girl, Ninette, to come out of the egg into his world, but loses her again when the magical egg finally breaks. The beholder of this picture book is swept away into a world of nighttime spaces in which anything seems possible.

    ISBN Cat - Dog - Fear - Play - Friendship - Adventure A pleasurable, though entirely accidental encounter help to correct the long-standing misunderstanding between two neighbors. While at play the ball rolls from the cat house to the dog mansion and the attempt to get it back leads for the first time to an understanding between the two parties. And there is a chance for more. Together with her text, Berner's colorful pictures make for thoroughly entertaining reading.

    Verflixte Fliegen! Those darn flies! ISBN X Flies The joys and sorrows of being a fly are portrayed here for young children in short lyrics along with charming illustrations. Printed on brown packing paper, the bold colors of the fly family members achieve their fullest expression. Honke, Gudrun transl. Graeff, Max Christian transl. Die Menschenfresserin The lady cannibal Wuppertal: Hammer, Afterwards, she is shattered by her own deed, for she has eaten her own child. The excellent German translation of the impressive, laconic text is both expounded upon and extended by Erlbruch's pictures, which leave wide berth for interpretation.

    Decorative elements such as the ever recurring, surrealistically strewn philodendra leaves or the child's sailor's suit allow an analysis, or perhaps a persiflage, of middleclass life. Adios, Emilio. Bye, Emilio. Good luck, Emil Luck! From there he is able to provide his family at home in Gronau-an-der- Leine with the basic minimum needs.

    This fastpaced narrative revolves around his adventures and his often sly methods of getting by in a foreign land. Inventive, ironic illustrations round out this attractive little book, which will appeal to a wide age-range. In prosaic pictures, which give an ironic view of cosy, middle-class homelife, we witness how Santa Claus, Lady Luck and Monsieur L'Amour go to great extremes to pass along their surplus stock of dolls to little boys and girls. Then the computer notices that this present has been placed ten years too early in the sack, because of a technical error.

    Thus Antonia gets her doll Simonetta already now, unexpectedly und unplanned. Three cheers for the picture book computer. Although the author takes this aspect very seriously, she also weaves into the narrative a considerable wealth of information about culture and important thinkers in central Europe. Yet throughout the novel, the protagonists remain vivid and interesting figures at the core of the narrative.

    Nearly killed along the way, he later learns that he had been rescued by Knapp, who is known in the village as a robber. Boniface is soon fast friends with Knapp's son Christian, but when the family is forced by the neighborhood gossips to emigrate overseas, they are separated. In a natural, sympathetic manner the author transports the reader into the world of the young protagonist.

    But nothing is given an explanation, even when objects are imbued with animation. In a quite matter-of-fact manner the poet and illustrator expand to the maximum the horizons of experience using a minimum of means. Each page contains only those objects described in the line of text.

    Changes are shown in night-time blue, new situations in clear daylight. The continuity in the course of events shown in the sequence of illus-trations corresponds perfectly to the rhythm of the text. So they scatter a little ash and decide to play detective. At last they get to the root of things, but not without taking some dangerous risks.

    A gang of forgers had been using the horse's body as a hiding place. With humour and subtle finesse the author shows what fun children have keeping little and big secrets - and how inventive they can be in trying to fool the adults. ISBN Baby - Pacifier - Conflict - Trickery In this book for both young and old, a subversive little baby learns how to keep its family and babysitters in non-stop action by hiding its one and only beloved pacifier and throwing a tantrum until it gets it. The pictures, with lift-up flaps for all sorts of po- tential hiding places, will delight playful youngsters.

    ISBN Cloud - Flight - Adventure - Help The little cloud makes its first long journey and finds lots to tell about the joys and dangers it has experienced. Although the pictures clearly reveal the influence of her master teacher, the alternative, more feminine style of this young illustrator give cause to follow her future development. The festivities of a Russian Easter night are portrayed in this quiet, reflective and optimistic book. That's forbidden! But look there - the grandparents, who have almost nothing to do with child-rearing, do not feel obliged to act as role models - and pick their noses, too.

    This merry and colorful picture book extolls the passionate pleasures of pursuing one's needs and of forming subversive alliances between old and young against dry conventions. One day each gets so angry that he casts off his official dress - joker cap, crown and pistol. Now, without their proper owners, these three objects cause the greatest amount of confusion when they land in the wrong hands and on the wrong heads. But in the end they all come to the conclusion that things work best when done by professionals. This is a humorously told parable about real life clothed in figures familiar to smaller children.

    Naturally it is the work of the letter-eater, also known as letter-switcher. All this is fairly upsetting in the everyday life of Claudia and her parents, until they manage to trick him back into his R Ei S and carry it off to a deserted forest. Only the way that objects change into words is not treated in this text. Lisas Reise Lisa's journey Esslingen: Schreiber, ISBN Reality - Conformity - Constraint - Freedom - Dream In her sleep, Lisa passes through a nightmare of strange and even antagonistic worlds filled with balls, corners, colors and headstands, until she finally reaches the land of feathers her own bed , where she doesn't have to be round, or cornery, colorful or stand on her head.

    At the abstract level, even smaller beholders of this picture book will find sufficient imagery and text to understand the concept of involuntary conformity in a predefined situation and see ways of extracting themselves from unjustified constraint. ISBN Rabbit - Hare - Family - Growing-up - Social differences With amazement and a little displeasure, the children of the field rabbit family and the wild hare family discover certain differences between their kinfolk. They begin to have doubts about the customs and attributes of their families. Are big ears perhaps better than small ones? Isn't a cave more comfortable than a burrow in the ground?

    In the course of time all these questions seem to get answered themselves. And in the end the youngest generation moves on to start their own families. Accompanied and enhanced by naturalistic, richly detailed but imaginative pictrues, this book gives young readers not only a glimpse into the life of rabbits, but also guidance in finding one's way through different living conditions.

    But Evi, his little human girlfriend, gives him just the answers he needs. Leisurely, like any Zwiggel, he slowly sets out to experience this new environment - leaving plenty of time for the read-along beholder to sink into the story and see familiar things from a new, but not obviously adult point of view. ISBN Mental illness - Outsider - Friend - Garden - Violence Uli, a latch-key child, becomes friends with the fascinating young man, Walder, who lives in the garden colony and tells stories that just cannot be true or makes up things with which he can communicate or conspire.

    He telephones with a cordless telephone, supposedly with his father in Africa. His house and garden are destroyed and he disappears from Uli's life. This books gives an impressive view of the world of an mentally instable outsider, showing the differences in the way in which an unprejudiced adolescent and the stick-in-the-mud, philistine middle-class perceive him. The misunderstandings and difficulties set in when a gang of handbag-snatchers who look very much like the courier kids appear on the scene.

    With its first volume, this sprightly detective series is off to a good start. She and her sisters experience all the difficulties of this situation - within the family, at school and in their free time. Her fellow pupils make her life so difficult, that she herself arranges to be enrolled in a different school. Things are further complicated by the fact that she is a Muslim, and her father very strictly religious. But finally she succeeds in feeling comfortable in her German surroundings, at the price, however, of no longer having a real homeland.

    This fascinating narrative is based on authentic experiences, written by an Iranian woman who has lived in Germany since her childhood and writes today in German. Downstairs are at odds with each other because the Upstairs children make too much noise. But when the noise stops one day after so many complaints, Mrs. Medical advice is now quite simply to hear noise from upstairs again. Her ears begin to shrink back to normal and things are peaceful again. Aside from this imaginative story, the book stands out for its lively, skilfully drawn and witty pictures.

    Eine Schlacht? A battle! You're in for it! The soldiers are called up, but since the apple harvest is in full swing, the war games will have to wait. But waiting is boring, picking apples together is more fun. So a truce is reached and the lion is left all alone. Brilliant tones emphasize the optimistic tenor of the story. One must learn to look very closely, listen very closely before deciding who to get involved with sheep in wolf's clothing or wolf in sheep's clothing , and also to discover the hidden evil and the hidden goodness in other living creatures.

    When read in the company of an adult, children can learn important lessons about the ways of the world. Der dreckige Prinz The filthy prince Stuttgart: Thienemann, When the prince becomes king, he only dares to wallow in filth at night in his dreams. But during the day he proclaims that the entire kingdom is to be kept clean, and he enforces it strictly. This is a cautionary tale directed against perfectionism, in which children's dreams collide with the exaggerated demands of adults.

    The illustrations contain a wide range of techniques of style that manage to overrule one another, just as, analogously, children's desires are constantly being overruled by the forces surrounding them. Suddenly there is not an E, G, T or P to be found anywhere. Not even in the minds of the people, who can no longer read or write anything. Chaos takes over. New auxiliary rules of spelling are established.

    But more and more letters disappear, and nothing works any longer. This is largely a humorous persiflage of the current wrangling over the introduction of new orthography rules in German-speaking countries. Black-and-white vignettes of letters try to give a proper picture.

    Hase Hase! Freundschaft auf acht Pfoten Hare Hare! Friendship on eight paws Reinbek: Rowohlt, So they secretly participate in a running contest with all the other village animal children, but get caught in a sudden downpour and lose their way completely. Then when they save Marie Pig from the flood, they become the joint winners of the first prize - a pair of roller skates for two.

    Now all their problems are solved - how and why to be friends. Simple, stunning colored pencil drawings in which yellow, blue and green dominate, printed on coarse paper, arouse the readers' interest in looking and turning one page after the other. And then Friedrich, the son of his new girlfriend, also appears on the scene. On top of that they are about to get a half-sister or half-brother, although they think Papa already has enough children. But the positive side of all that chaos finally helps to win the day.

    This highly enjoyable book works against the neurotic tendencies in the children's coping with their current problems by use of much humor and wit. The graphic design exudes with a high-spirited holiday mood.

    Galerie Japan-Tournee – MUHSIN

    Only later does Peter discover that the letters he got regularly from his father were written by his grandfather, in order to conceal the death of his father. This enchanting book gives much space to joyful moments and to sad moments. It shows a child's attempts to look upon world events so as to make them fit into his own life.

    The author handles very complicated subjects seemingly without effort, often humorously, and tragic moments with a dash of gentle irony. Der Zahlenteufel. The reader will become increasingly engrossed in Robert's nightly adventures with numbers, especially on account of the elaborate color scheme used to liven up the rows of examples, the illustrations and resourcefulness of both Robert and the Number Devil.

    The first chapters will even be of interest to second graders; progress can continue then gradually, with the support of an interested adult. Hat Opa einen Anzug an? Does Grandpa have a suit on? The narrative focuses on the typical verbal responses of adults and the difficulties this causes for a young child. From the point of view of both aesthetics and content an impressive book, it nonetheless leaves some questions open. It is difficult to know whether the illustrations match the text from a child's point of view, and whether both text and pictures give an adequate representation of the feelings and experiences of a child taking leave of a deceased loved one.

    Will a child identify with this portrayal? The actual target readership may well be older than the three or four-year old protagonist. Army in he prepared documentary sketches of everyday life at the concentration camp. Published here for the first time, these drawings give substance to the horrors and the desolateness in which the boy had been living for two endless years of captivity.

    The accompanying text in German, English and Hebrew should appeal to a wide audience and deserves the attention of anyone interested in human rights issues. The pert young prince Telemachus seeks out a teacher who can teach him how to find his father, in order to bring Odysseus back to his rightful kingdom, now overrun with upstarts, and to his family.

    The masked goddess Minerva gods are almighty, teachers are all-powerful, therefore teachers are gods? With expertise and irony, in relative clauses and allusions, the Greek legend of gods and heroes is given a new meaning. With a brilliant, easy flowing style, and an irreverence toward the crusty old humanistic teachers and teaching methods, each sentence and chapter of this text makes for a true reading pleasure. The island's inhabitants are able to prevent the exploitation of the mine, which would have led to the pollution of the sea with environmental poisons.

    The children of the island, who fear for the future of their home, play an important role. With trickery and the help of Grandfather's donkey, they succeed in averting the danger. With humor and a sense of place, the author describes how an unspoiled landscape is saved from being destroyed by profit-seekers. And he wants more. How the two of them start with the parental library and swing wordlessly on a bookmark from adventure to adventure, page after page, is another piece of Heidelbach creativity.

    Here he takes a stand on reading for fun, but one thoroughly devoid of pedagogical undertones. The conflicts and skurmishes the young man experiences in this misanthropic institute, but also the positive encounters and experiences of those years make up the atmosphere of this weighty book. It bears witness to one man's mental resistance against active violence and structural force; a convincing testimony not only in a literary sense but by means of its wisdom and humanity.

    The fifth patient, a little Pinocchio, is suffering from a broken nose. An artful, well-composed book designed for very close listening and looking. Risking the double dangers of being discovered a Jew and a woman, Esther hopes to gain freedom in the New World as Columbus' page boy. But the terror and horrifying images of the pogrom continue to haunt her. The author relates the fascinating story of life in the cramped spaces of a sailing ship, the coarse camaraderie of the men, and the absolute hierarchical chain of power and command. But the magic only lasts one day.

    Unconcerned with logic or realism, the author allows the reader to take subversive pleasure in the improbable father-and-son conspiracy. Eine Fibel mit Reimen und Geschichten Reading magic. A reader with rhymes and stories Berlin: Volk und Wissen, ISBN Alphabet - First reader - Children's poetry - Play In a compendium of pictures, letters and first words, short poems, and longer texts the beginning reader is gradually introduced to the written word and reading matter in this most pleasurable beginning reader.

    Breaks for play are worked into the text. Using lots of humor and graphics, the authors also provide a basic stock of knowledge about everyday life in Germany and elsewhere. Visual citations from widely known picture books and children's books including those of the author produce a larger literary context for the young reader. ISBN Hare - Everyday life - Stress - Relaxation - Identity A hare who always feels unnerved, terrified and on the run from dangers takes stock of his life: he doesn't want to run, to flee and be constantly on guard any more, just to save his own fur.

    He stretches out all four legs and simply lies down in the warm sun for a nap. And in his head he hears the echos of the hunters' steps and the buzzing of their machines; and the warnings of his brothers and sisters. But there is one sound he had never heard before - the beating of his own heart. That is why he sticks to his decision - no more hectic.

    The search for identity is captured here in opulent, spacious summer colors. They find no clear limitations either through the edge of the page or one another, thus documenting Hare's totally new sense of life. When he sets off for the city to get prettied up, his herd of sheep take offence and follow him. They create a nuisance in the city and become, so to speak, criminals. And they interfere with the shepherd's newly found happiness. Finally he flees with them back to the country - and finds that fortune has not deserted him. An endearing story in which both man and sheep win, is well told with picturesque illustrations and excellent typography.

    Bertas Boote Berta's boats Wuppertal: Hammer, She folds her drawings into paper boats and a big fish gobbles one up. When she catches it, the fish throws up all the junk it has found in the ocean. Then Berta sits at the computer until she falls in the hammock, dead tired.

    Finally she makes a painting of all the things she has experienced and sends it off in the bottle. The style of the drawings reflect the situation of a lonely child - filled with chaos and desolation.

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