#Helen Hessel

[federer7]

Helen Hessel Grund. Arcachon, France. 1925

Photo: Man Ray

[klaus1964b]

Helen Hessel "nue sur la dune du Pilat" / Arcachon (France) by Man Ray, 1925

[jeanmoreaux]

*✧ — JANUARY 2023 WRAP UP

posting this wrap up super late because i can. i am struggling™ and reading is probably one of the only things keeping me afloat right now; consuming any other type of media is currently not working for me. also, i am rereading the hp books for uni and i haven’t read any of them since 2007. i can’t say i absolutely hate them but some things are very icky, and you know, fuck jkr.

2023 goal: 24/100 books

as alway, feel free to drop book recs, questions, or opinions in my inbox; i am always happy to talk to you about books!

* –> newly added to my favorites shelf

follow my goodreads | follow my storygraph | previous wrap ups

–––––––––––––––––––––––––––––––––––

An Elderly Lady is Up to No Good by Helen Trusten | 2.5★ | review

Bastard by Max de Radiguès | 5★

Fried Green Tomatoes at the Whistle Stop Cafe by Fannie Flagg | 3.5★ | review

Not Here to Be Liked by Michelle Quach | 3.75★ 

The Story of Art without Men by Kate Hessel | 4.5★ | review

I'm the Girl by Courtney Summers | 4.75★ | review

The Waves by Virginia Woolf | 5★ | review

Cursed Bunny by Bora Chung | 4★

The Honeys by Ryan La Sala | 4.75★ | review

On Beauty by Zadie Smith | 4★ | review

Zaïda by Anne Cuneo | 2.25★ | review

Nettle & Bone by T. Kingfisher | 4★

Außer sich by Sasha Marianna Salzmann | no rating | review

We Ride Upon Sticks by Quan Barry | 4.75★ | review

Vladimir by Julia May Jonas | 3.75★ | review

* Alias Grace by Margaret Atwood | 5★

Stancliffe's Hotel by Charlotte Brontë | 4★

The Many Daughters of Afong Moy by Jamie Ford | 3.5★

The Book of Night Women by James Marlon | 4.75★ | review

The Bodyguard by Katherine Center | 3.5★

The Suspicions of Mr. Whicher by Kate Summerscale | 3.75★ | review

Alone With You in the Ether by Olivie Blake | 4.25★ | review

Harry Potter and the Goblet of Fire by J.K. Rowling | no rating

Down Girl: The Logic of Misogyny by Kate Manne | 4.5★

[pwlanier]

Today in Great Lakes shipping history. October 7th.

On October 7, 1968, the NORMAN P. CLEMENT was damaged in a grounding off Britt, Ontario. The Canadian boat was towed to Collingwood for repairs. However, while in dry dock, an explosion occurred on October 16 that injured 11 workers and further damaged the hull. Rather than repair her, the owners had the CLEMENT towed out into Georgian Bay where she was intentionally sunk on October 23, 1968.

1919: The wooden steamer HELEN TAYLOR was damaged by a fire in the pilothouse near Hessel, Mich., but was repaired.

Boat Nerd

[whileiamdying]

On Jules and Jim

When François Truffaut was a twenty-three-year-old film critic, in 1955, he read an autobiographical first novel by a seventy-four-year-old writer, Henri-Pierre Roché. “The book overwhelmed me,” he later recalled, “and I wrote: If I ever succeed in making films, I will make Jules and Jim.” Six years later—after constantly rereading and even partly memorizing Roché’s novel—he more than redeemed that promise. Sixties audiences didn’t merely see his movie. They wanted to live it.

Jules and Jim begins in Paris before World War I and introduces us to two aspiring writers. Jules is a shy, diminutive Austrian (Oskar Werner is all pained charm), a born onlooker who masks his aggressiveness as passivity. He can’t get the girls, but his friend Jim can. A lanky, not-quite-dashing Frenchman (played with melting standoffishness by Henri Serre), Jim is a Left Bank Don Quixote to Jules’s Sancho Panza. When we first meet them, they are living out a genial but somewhat lackluster bohemianism, brimming with talk about writing and women. But for all their love of books, these pals come alive only when they meet the magnificently desirable and dangerous Catherine (Jeanne Moreau). She marries the stolid Jules, who’s too low-key and dull to keep her, and becomes the lover of Jim, who refuses to subject himself to her will.

Although the film is named for the men, its animating force is Catherine, a creature both utterly timeless (Jules and Jim first see her visage in a photo of a Greek statue) and forever changing: at different points, she plays the roles of Charlie Chaplin and street tough, vamp and doting mother. Passionate and iconoclastic, she is, in fact, the only true free spirit among them. Just as the men put their talent into their art, so she puts her genius into living—or perhaps into claiming for herself the reckless male freedoms that women have been traditionally denied. Time and again, she literally dresses herself in the garb of masculinity.

On paper, the mercurial Catherine seems an implausibly grandiose con­ception, a woman both giddy and tragic, protofeminist and male-dominated, driven by Eros and Thanatos. But as played by Moreau, a pop-eyed siren with the ferocity of Bette Davis and the kitty-cat wiles of Tuesday Weld, Catherine becomes one of the modern movies’ triumphant characterizations—the anima as autocrat. Whether playing with vitriol or jumping into the Seine, she elevates capriciousness to an existential principle. When Jim says he understands her, she replies, “I don’t want to be understood.” And this is absolutely true. The movie lives in the shuddering distance between Catherine’s imperious, doomed physicality and the two men’s shifting perceptions of her, perceptions that rearrange but never destroy their glowing friendship.

Jean-Paul Sartre once wrote that the greatest art is about the passing of time. Jules and Jim flies by like a dream, suffused with a sense of life’s evanes­cence. As the characters grow older, and perhaps wiser, we become aware of how much has been lost—loss of love, loss of innocence, loss of the marvelously lamplit bohemian past to the searchlight horror of Nazism. An intimate melan­choly pervades the movie’s voice-over narration, which adores the characters’ brave inquiry into love’s possibilities but is also wryly aware of the relief that accompanies the end of such inquiries. As critic Andrew Sarris once wrote, Jules and Jim celebrates “the sweet pain of the impossible and the magnificent failure of an ideal.”

From the beginning, the film itself was treated as a magnificent success, with Truffaut winning praise from such personal heroes as Jean Cocteau and Jean Renoir; he even received a gushing letter from the seventy-five-year-old Helen Hessel, the real-life, Seine-jumping model for Catherine, who told him he’d captured “the essence of our intimate emotions.” Such accolades, however, didn’t keep France’s Commission de contrôle des films from forbidding viewers under the age of eighteen from seeing Jules and Jim because of its “immoral character”—a decision that would be replicated in many other countries. From our present-day vantage point, when nudie sex scenes are de rigueur on cable TV, such a decision may seem incredible. But this was 1962, and while the New Wave may have been reinventing cinema, French censors weren’t ready to reinvent bourgeois morality.

Perhaps a bit naively for a Young Turk, Truffaut was shocked by the ban, but he clutched at the nearest straw. The president of the commission, Henry de Ségogne, told him that the board might reconsider if he could gather a series of laudatory statements from luminaries. Truffaut set about doing just that, writing to Cocteau, Renoir, and Alain Resnais requesting their support. Still, despite this illustrious backing, the commission refused to reverse its original decision, condemning itself to a tiny corner in the Pantheon of the Square, while this supposedly immoral movie would one day be shown in high school classes.

Truffaut was not yet thirty when he made this tale of triangular desire, and decades later it’s still astonishing that one so youthful could be so open­hearted, so willing to give everyone’s motives and passions their due. But if Jules and Jim casts a mature eye on the limits of freedom (by the end, everything seems uncannily, but satisfyingly, preordained), it remains indelibly a young man’s movie. It’s a lyrical joyride propelled by leaping, elliptical edits, Georges Delerue’s sublimely evocative score (one of the most memorable in film his­tory), and Raoul Coutard’s ecstatic photography, which helps underscore Truffaut’s visual ideas about the great circle of life. At one point, Coutard’s camera follows a young woman in a bar, does a 360 degree pan, and winds up watching Jules draw another girl’s face on the surface of a round table.

Almost every scene is shot through with such casual stylistic brilliance. Yet what audiences have always loved about this movie isn’t simply its technical brio but its emotional warmth, its embrace of a world in which tragedy is forever playing hopscotch with farce. Jules and Jim is a movie that enters viewers’ lives like a lover—a masterpiece you can really get a crush on.

— The Criterion Collection

This essay is a revised version of one that originally appeared in the Criterion Collection’s 2005 DVD release of Jules and Jim.

[scribbleanalysis]

The fifth issue of the magazine Mode and Mode in 2018 published translations of two articles that Helen Hessel wrote for Für die Frau, the monthly magazine supplement the Frankfurter Zeitung for women.

The first article is entitled ‘Transformations’, from May 1931. She argues for an understanding of fashion in relation to sex, whereby “woman” occupies a number of roles to capture the “naturally-conditioned polygamy of men”. She can perform different identities, dress up differently, use perfume and fans and hair dyes to transform herself. She dresses to express the bustle of her busy days, but she too can become adaptable: exchanging items of clothes to move through those days. Transformations can be so rapid and radical that the ‘fregoli’ delusion sets in – whereby a person holds the belief that different people are in fact a single person. (Consider this in relation to Hessel’s own polygamy; perhaps the thesis is that fashion replaces sexuality, a sexuality that would otherwise be less constrained and limited)

The second article is entitled ‘Simplicity in fashion too’, from February 1932. Here Hessel argues for a relation between fashion and world events (what we might understand as “history”). Again, she emphasises transformability. Like the modern interior, garments should reflect the time of the day, the occasion, the mood. She argues that the ‘silhouette’ has stabilised, given it reflects more-so now the form of the body. Woman can escape the “dictatorship of the fashion houses” by dressing according to her and her body’s will and spontaneity. But Hessel doesn’t seem to hold tight to this possibility, calling the ways in which a woman’s suit can be adapted and transformed “one of the magic philtres with which fashion works its spell”

[ucangotohell-blog]

Le Tour de France des Léonides: La Provence

Otherwise it depends on what particularly interests the reader. She hands the house over to a realtor, and offers the wine to her late husband's friends, including me. The widow inherits house and wine. As in the landscape painting of this time, a new experience of nature and landscape sounds in Petrarca, in which aesthetic and contemplative perspectives combine with each other. For this reason, some scholars see climbing Mont Ventoux as a key cultural and historical moment on the threshold from the Middle Ages to modern times. (Wiki).

brought the Camargue farmers to rice cultivation - in search of the best side dish for his poule au pot, his Sunday chicken. Two years later I hear that the community has reached an amicable settlement in a dispute with a building contractor who paved or concreted our street three years earlier. So I got hold of 12x144 bottles of excellent wine and was broke for a while. A village neighbor imports wine himself. The calm and quiet coo of the pigeons in the morning. They help us a lot to improve the quality of the service. Enter your travel dates to see the total price per night. Free cancellation only within 48 hours of booking.

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the garage cellar. As a basilica with a 20 m high central nave, the cathedral has both Romanesque and Gothic style elements. reference While the nave, tower and facade were erected in Romanesque style Gothic chorus was first created. The most famous exiles included Bertolt Brecht, Ferdinand Bruckner, Franz Theodor Csokor, Albert Drach, Lion and Marta Feuchtwanger, Bruno Frank, Walter Hasenclever, Franz and Helen Hessel, Alfred Kantorowicz, Hermann Kesten, Egon Erwin Kisch, Arthur Koestler, Annette Kolb, Golo Mann, Heinrich Mann, Klaus Mann, Thomas Mann, Ludwig Marcuse, Erwin Piscator, Anton RäderscheidtJoseph Roth, Franz Werfel and Alma Mahler-Werfel, Arnold Zweig, Stefan Zweig. The calanques are a special ecosystem. There is almost no soil there, the plants are anchored in the crevices and cracks in the rock. The climate is dry, and the moisture present comes mainly from the evaporation of sea water and the salty spray of the surf, which results in unique flora and fauna.

Voir les disponibilités Important - À lire L'établissement Sixties Apartment accepte les demandes spéciales. Ajoutez la vôtre à la prochaine étape!

Written way of life. Was very "in" in D in the 90s of the last century. Heat olive oil in a pot. Sweat the diced shallots and garlic with the rice without color. Add white wine and fill up with poultry stock. Century restored, today it is used again for festival performances. The Arles amphitheater, built around 90 AD, is also very well known; Diameter 140 m × 103 m, originally consisting of three floors with 60 arcades each and approx.

[traduccionaliciamartorell]

Marie-France Peteuil, Helen Hessel. La mujer que amó a Jules y a Jim, traducción de Alicia Martorell. Madrid, Aguilar 2012.

[helaodinsdottirr]

Le Tour de France des Léonides: La Provence

The French authorities have set up a hiking trail with around 40 stations that commemorates this time. After the First World War, many painters and writers from all over Europe settled here and nearby, including Aldous Huxley and Julius Meier-Graefe with his partner Anne-Marie Epstein, who received the first German emigrants. In the years after the National Socialist takeover of power in Germany, many German emigrants click this site . Since then, the city has been an important center of exile. The most famous exiles included Bertolt Brecht, Ferdinand Bruckner, Franz Theodor Csokor, Albert Drach, Lion and Marta Feuchtwanger, Bruno Frank, Walter Hasenclever, Franz and Helen Hessel, Alfred Kantorowicz, Hermann Kesten, Egon Erwin Kisch, Arthur Koestler, Annette Kolb, Golo Mann, Heinrich Mann, Klaus Mann, Thomas Mann, Ludwig Marcuse, Erwin Piscator, Anton RäderscheidtJoseph Roth, Franz Werfel and Alma Mahler-Werfel, Arnold Zweig, Stefan Zweig.

Details on TERMINATOR Dossier de Presse Press Book SCHWARZENEGGER synopsis

The letters are therefore les lettres de "mon moulin", so that, seen polysem (see 30), the result is "Lettres de mon moulin" by Alphonse Daudet. I spoke of Petrarch above (36). The famous poet lived from 1337 to 1349 in Fontaine-de-Vaucluse near Avignon and wrote a large part of his Canzoniere there. I therefore recommend visiting Avignon better outside of peak travel times. In addition, we neither went on the bridge nor visited the Papal Palace, because on the one hand we had a hungry and therefore whining friend with us and on the other hand we found the admission prices quite high, so that we would only have been pushed as a result of the crowds. We should shell out € 13 per person for the Papal Palace and € 7 again for the bridge. That is why we have decided to visit Avignon outside of holiday times and then take a lot of time for everything. From 1769 to 1793 the house was occupied by Madame du Barry, the mistress of Louis XV. The character of Rainier Wolfcastle, who mainly appears in action films, in the American series The Simpsons is based on Schwarzenegger. In 2003, California elected him governor, crowning an American storybook career. Christian Lettmayr, 53, comes from Austria and has headed the Competitiveness and Economic Reform Unit of the Directorate-General for Enterprise and Industry at the European Commission since 2001. The problem of exporting substantial quantities of Austrian wine containing diethylene glycol (antifreeze) to the Community has been brought up to the Commission because of the rapid food information system.

CommentYes, oopsy, the pictures of the château d'If are beautiful. And, as I know, you've been to this facility before, unlike me, who got stuck in Marseille's Vieux Port. I came to him via the Canebière, the well-known, 1 km long road that leads directly to the port. Common to both names is the Greek νίκη [níːkɛː] “victory”. On the one hand, the Nike company hopes to help athletes win, possibly to make them Olympic athletes. On the other hand, in the 4th century BC The Phoceans from the area around Marseille the Ligurians and founded Nikaïa (also Nicaea), the "victorious".

[piousboy]

Lyrics of Jul

On April 26, 1336, out of curiosity, voluntarily and "only out of desire", Francesco Petrarca reached the summit of Mont Ventoux, the "windy mountain", together with his brother and two other companions. Because he also experienced nature, satisfaction and "excitement of the heart" during this hike, he is referred to as the "father of mountain climbers" and the 26th

Avant Gtr lyrics by Jul

These sentences are from external sources and can sometimes contain errors. bab.la is not responsible for this content. Here you can read more about it. Interestingly, even though we killed them all the time, we never managed to stop the wing beat in the air. The result is a victory for those who want to stop and reject the European process.

Quiz Who is not a German rapper?

I would like to contribute a picture on this subject with a distinctive color contrast. "Strictly speaking, there is no 'lavender at all, but around 30 different species of the Lavandula genus worldwide. Two of them grow in Provence in particular. Lavandula angustifolia (lavande) and Lavandula latifolia (lavandin). It is something like that Mercedes among the lavender species Commentary, I know the solution from another time, but I could never have guessed it myself. As I said, the price in BEF was not a quantity indicator for me at the time. In addition to sketches, drawings and a watercolor, his work on this motif produced four important oil paintings. After an early sketch that van Gogh had sent to his friend Émile Bernard (JH 1370 in B2), he had started a (probably first) painting, which, however, failed and was only preserved as a fragment. It only shows the lovers, a topic that the artist (probably last) took up again in a reed drawing of the bridge. Thank you, Isabelle, for your impressive contribution to the Provencal flora. After the First World War, many painters and writers from all over Europe settled here and nearby, including Aldous Huxley and Julius Meier-Graefe with his partner Anne-Marie Epstein, who received the first German emigrants. In the years after the National Socialist takeover of power in Germany, many German emigrants stayed in the small Mediterranean town. Since then, the city has been an important center of exile. The most famous exiles included Bertolt click this site Brecht, Ferdinand Bruckner, Franz Theodor Csokor, Albert Drach, Lion and Marta Feuchtwanger, Bruno Frank, Walter Hasenclever, Franz and Helen Hessel, Alfred Kantorowicz, Hermann Kesten, Egon Erwin Kisch, Arthur Koestler, Annette Kolb, Golo Mann, Heinrich Mann, Klaus Mann , Thomas Mann, Ludwig Marcuse, Erwin Piscator, Anton RäderscheidtJoseph Roth, Franz Werfel and Alma Mahler-Werfel, Arnold Zweig, Stefan Zweig. She didn't want to knock us off and didn't want to earn anything from his friends. They were sometimes very clumsy and the whole thing was a tough, quite bloody massacre in which the animals could only be sorry. The Arles Amphitheater, around 90 AD, is also very well known. Let us go ahead as the European Parliament, we must do something to prevent smoking death. To prevent this slipping, strict standards and a genuine community preference are required. expand_more And nobody in this house, I think, wants to stop them. expand_more Click Windows XP, click Start, click Turn Off, and then click Turn Off again. expand_more Companies that are not covered by the system have to shut down plants or even shut down parts of their operations.

[nunc2020]

Paris und die deutschen Dichter

Paris, mon amour: Keine Stadt haben Dichter und Denker mehr geliebt

An der Erfindung von Paris haben viele mitgewirkt. Den Schriftstellern und Künstlern war die Stadt immer schon Sehnsuchts- und Zufluchtsort. Eine Marbacher Ausstellung dringt tief ein ins Phantasma dieser Liebe.

Andrea Köhler

23.6.2018

Städte entstehen auf dem Papier – erst bei der Planung, dann in der Literatur. Das ist eine Binsenweisheit. Doch nicht jede Stadt wird, wie Paris, selber zum Buch. An kaum einem anderen Ort läuft man auf einem solchen Teppich aus Mythen, Geschichten, Bildern und fremden Erinnerungen wie rechts und links der Seine. Paris ist ein Phantasma für jeden, der je seinen Fuss auf den Asphalt des Boulevard Raspail oder das Pflaster der Butte Montmartre setzte – und ein Ziel der Sehnsucht für alle, die noch niemals da waren.

Mehr noch, die «Hauptstadt des 19. Jahrhunderts» und das Labor der Moderne, die Stadt der Liebe und der terreur, der Ort der Freiheit und des Exils hört auch für diejenigen, die dort leben, nicht auf, ihren Mythos zu spinnen – zumindest, sofern sie nicht unter finsteren Umständen ihr Dasein fristen. Unzählige Schriftsteller, Künstler, Philosophen haben Paris zur Hauptfigur ihres Schaffens gemacht – als wäre die Stadt nicht ein Ort, sondern eine Person. Wenige aber haben den Topos von Paris als einer «Geliebten», die es zu «erobern» gilt, emphatischer ausgemalt als der Schweizer Schriftsteller mit der russischen Emigrantenseele, Paul Nizon, dessen Hommage an die Stadt des Eros zu einem Lebensprojekt geworden ist.

Es ist diese emotionale Verquickung, die fast alle Bücher, die in Paris entstanden, zu Werken über Paris selber macht. Der speziellen Gemengelage, die auch dem Wunsch nach Zugehörigkeit zu einem imaginären Universum der Künstler entspringt, ist nun eine sorgfältig aufbereitete und tief in das Paris-Phantasma entführende Ausstellung im Literaturmuseum der Moderne in Marbach gewidmet, die die deutsch-französische Amour fou von den passionierten Anfängen bis zum zerplatzten Traum in über fünfhundert Exponaten sichtbar macht.

Fortwährende Erfindung

Dass wir in Städten stets in den Fussstapfen anderer wandeln, ist eine Banalität, die sich mit dem richtigen Reiseführer in einen parcours d’esprit verwandeln kann. Dieser Reiseführer muss allem voran den Rhythmus der Stadt erkannt haben, ihr Tempo und ihre spezifische Gangart. In New York ist es der «Grid», das Raster, das dem ehemaligen Sumpfland am Hudson anno 1811 aufgeprägt wurde, und sind es die himmelstürmenden Wolkenkratzer, die den Kopf in den Nacken zwingen, die vorwärtsstürmende Hektik auf den Avenues und die dichten Touristenpulks, die den Schritt dirigieren.

Auch Paris hat die geraden Schneisen, die imperialen Achsen, die Baron Haussmann auf Wunsch von Napoleon III. durch die Stadt schlagen liess – nicht zuletzt, um drohende Aufstände zu unterbinden, die in dem mittelalterlichen Gassengewirr nicht leicht unter Kontrolle zu bringen waren. Noch immer aber ist Paris die Hauptstadt des Labyrinths und der verschlungenen Wege, der Parks, Passagen und Plätze, die den Modus der Fortbewegung bestimmen. 17 «Gangarten» haben die Kuratorinnen Susanna Brogi und Ellen Strittmatter ausgemacht, um die diversen Vitrinen von Heine bis Handke, von Rainer Maria Rilke bis Helen Hessel zu charakterisieren. An der Spitze schlendert die Zentralfigur des Flaneurs.

Nein, Paris wurde nicht von deutschen Autoren erfunden. «Die Erfindung von Paris», so der Titel der Ausstellung, findet ununterbrochen statt. Doch da wir im Marbacher Literaturarchiv natürlich allem voran einen Blick auf die Bestände der deutschen Paris-Erfahrungen werfen, beginnt die «Erfindung», die hier mit Briefen, Typoskripten und Fotografien entfaltet wird, mit dem ersten deutschen Flaneur, der anno 1830 vor den deutschen Zuständen an die Seine floh.

Heines «Feuilletons» für die «Allgemeine Zeitung» sind stilbildende Exemplare des Genres, die einem Tränen der Nostalgie in die Augen treiben könnten – würde der Witz des späteren Matratzengruftlers solche Anwandlungen nicht torpedieren. Es ist kein Zufall, dass schon Heines Momentaufnahmen aus der «Hauptstadt der civilisierten Welt», die dem Exilanten wie im «Weichbild» erschien, den fotografischen Blick erproben – einen Blick, der die in den Schaufenstern der Luxuskaufhäuser sich spiegelnden Regungen des petit peuple einfängt.

Die Wiege der Fotografie

Denn Paris ist nicht nur die Stadt der Bilder, sondern auch die Wiege der Fotografie, und sehr bald gesellte sich zum Stift die Kamera. Dass die Stadt aus dem grauen Stein in dieser Ausstellung auch im Medium der Schwarz-Weiss-Fotografie reflektiert und durchwandert wird, macht schon insofern Sinn, als das literarische Paris des letzten Jahrhunderts ohne Zelluloid nicht zu denken ist. Walter Benjamin, Siegfried Kracauer und Franz Hessel entwickelten ihre Theorien der Wahrnehmung nicht zuletzt anhand des neuen Leitmediums, dessen ephemerer Charakter in den Kontaktstreifen, die Siegfried und Lili Kracauer auf ihren unermüdlichen Gängen durch Paris aufgenommen haben, besonders prägnant zur Anschauung kommt.

Eines der anrührendsten und zugleich unheimlichsten Bilder aber ist eine Fotografie aus den 1940er Jahren: Der Kriegsberichterstatter und Marineoffizier Lothar-Günther Buchheim hat sie gemacht. Darauf sieht man ein kleines Mädchen mitten auf der Strasse mit Kreide Raster für das Spiel «Himmel und Hölle» auf den Asphalt malen. Die Szenerie ist gespenstisch leer – als lauere in der Selbstvergessenheit des Kindes eine Gefahr.

Lothar-Günther Buchheim fotografiert ein Mädchen in einer Pariser Strasse, 1940er Jahre. (Bild: Buchheim-Stiftung, Feldafing)

Lothar-Günther Buchheim fotografiert ein Mädchen in einer Pariser Strasse, 1940er Jahre. (Bild: Buchheim-Stiftung, Feldafing)

Dass diese tatsächlich jenseits des Bildrands liegt, zeigt die daneben hängende Fotografie von deutschen Besatzungssoldaten vor der Kulisse des Eiffelturms. Von da ist es auch zu Ernst Jünger nicht weit, der im Frühjahr 1941 als Offizier der Wehrmacht in die französische Hauptstadt einrückt, wo er bis zum Abzug der deutschen Truppen im August 1944 bleibt.

Flanieren und Marschieren

Der «Wechsel zwischen Flanieren und Marschieren» bestimmt die Gangart des literaturliebenden Offiziers, der am Grab von Baudelaire Blumen pflückt und in sein Kriegsalbum klebt. Das wird bekanntlich durch die berüchtigte Szene auf dem Dach des Hotels Raphael akzentuiert, in der der Autor die «gewaltigen Sprengwolken über Saint Germain», sie durch ein Glas Burgunder betrachtend, beschwört – und dabei über die «in gewaltiger Schönheit daliegende Stadt» schwadroniert, die sich «gleich einem Kelche, der zu tödlicher Befruchtung überflogen wird», unterwirft.

Diese aus ästhetisierender Eiseskälte und blümchenpressender Sentimentalität zusammengesetzte Optik, die für die sich mit klassischer Bildung schmückenden Akteure der deutschen Barbarei nicht untypisch ist, bleibt – Jüngers Distanz zum nationalsozialistischen Regime ungeachtet – angesichts der nur um Haaresbreite verhinderten «totalen» Vernichtung von Paris ein Skandal.

Nicht nur darum seien hier (die Jünger durchaus gewogenen) «Tableaux Parisiens» empfohlen, die Wolfgang Matz in seinem Beitrag zu dem exzellenten Katalog entworfen hat. Sie beginnen just mit dem «symbolischen Ort des 20. Jahrhunderts», dem berühmten Hotel Lutetia, das, 1910 im Herzen von Saint-Germain eröffnet, nach 1933 zum Hort des von deutschen Schriftstellern organisierten Widerstandes, 1940 zur Luxusenklave der nationalsozialistischen Besatzungsmacht und schliesslich, nach der Befreiung, zum Aufnahmezentrum für überlebende Deportierte geworden ist.

Der Spurenleser in den Pariser Passagen, der Erfinder von Paris als semiotischem Raum, hat sich 1940 auf der Flucht vor den Nazis in Portbou das Leben genommen; für die rettende Passage über den Atlantik reichte die Kraft nicht mehr. Ein Ignorant, wer den Riss beim Anblick des über seine Papiere gebeugten Philosophen in der Bibliothèque Nationale nicht heute noch spürt.

Dieser Riss, das himmelhoch jauchzende Glück und der herzzerreissende Schmerz, scheint zu Paris zu gehören wie zu keiner anderen Stadt. Rom provoziert das Schwärmen und die Antikenbegeisterung, Buenos Aires die Leidenschaft und die Melancholie, New York das Staunen und den Aufbruchsgeist. Paris aber ist die Stadt «des Herzklopfens und der Herzschmerzen», die auch Adorno empfand, die Metropole der Euphorie und der Einsamkeit.

Diese «doppelte Buchführung», die schon Heinrich Heine in seinem Exil empfand, hat in der zweiten Hälfte des letzten Jahrhunderts niemand passionierter und zugleich spitzzüngiger zum Ausdruck gebracht als die im Jahr 2002 verstorbene Schriftstellerin Undine Gruenter, die den Traum von Paris als der Stadt der Literatur weiterträumte, auch wenn er ihr, wie in einem hier ausgestellten Manuskriptauszug, unter der schreibenden Hand «zu Asche zerfiel

[sumpix]

Weimar memories: walking Berlin … in a flâneur's footsteps

 Armed with Franz Hessel’s cult guidebook, Walking in Berlin, published in 1929, Vanessa Thorpe is transported back to the city’s decadent period

Time travel is still a long way off as a short break option, but happily there are some good approximations. Last month, in a very chilly but sunny Berlin, I opened up a copy of Franz Hessel’s cult 1929 guidebook, Walking in Berlin: A Flâneur in the Capital, and, sure enough, the jaunty, literary tone of the book, now published in English for the first time, is like a private invitation back to the city’s most beguiling era.

Hessel had an appetite for cafe culture and people-watching, although his own life was easily as colourful as the life he observed around him. His open relationship with his wife, fellow writer Helen Grund, inspired Henri-Pierre Roché’s famous ménage-a-trois novel Jules et Jim. He was, to use his preferred French term, a flâneur – a man of means at ease in the cosmopolitan hub of Weimar Germany.

(via Weimar memories: walking Berlin … in a flâneur's footsteps | Travel | The Guardian)

[wwwnewunificationchurchcom]

(via Saving Sanctuary Church: an Open Letter to Timothy Elder, Dr. Panzer; and Sean, (Hyung Jin) Moon | The Third Course of Restoration unto Canaan at the Global Level in Reality)

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The Salvation of the Sanctuary Church

 of Sean (Hyung Jin) Moon

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The Problem of Sean and Yeonah Moon                

   to serve my Father Jesus --  ---    or their father Moon                                                -------------------------------------------------- ◊

     .......The Advent of Mary of Fatima      

the city of Fatima, Portugal;  as the Bethlehem of Islam

----------------------------

The Second Advent of the Lamb

Third Course of Restoration

Fatima, Portugal:

Foundation of Light

1917

Moscow, Russia

Foundation of Darkness

1917

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The Soul and the Spirit are the Two Hands of God[/caption]

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The FIRST and the LAST:

     First, Last: and Always

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I Kings 10:14

"....Now the weight of gold

that came to Solomon

in one year

was 666 talents of gold....."

◊

''...For Fortune and Fame 

are the Number and Name:

of the Beast..."

Lady Peace

◊

________________________________________________________ ◊

==================================

The Revealing:

by the Scribe of the New Church of New Hope

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An Appeal to Sanctuary Church by

Hye Sung Francis

Hyung Jin Moon, Timothy Elder, Yasue Erikawa, Richard Panzer, Richard Urban, David Konn, Nikolaus Beutl, Jamal Johnson, Somiya Chapman, Mi-Ran Kim, Peter Graham, Greg Noll, Thormar Jonsson, Herwig Schmid, Mark Alexander, Rick Hunter, Andy Davies, Helen Brown, Mohamed Ayad, Tim Huish, Robert Pickell, Kyle Toffey, Lisa Zanin, Christen Quinn, John Hessell, Cliff Yasutake, Paul Rotondo, James Reid White, and others in support of Hyung Jin Moon and the Sanctuary Church Movement:

I commend your hunger and thirst for righteousness, as much of the vision you have inherited from Reverend Sun Myung Moon, and your passion for the lineage of God was to begin to lay the Foundation for the Kingdom of God in America as the Third Israel.

You have already assembled a global movement, and you are right that these are, in many ways, the last days. Revelation speaks into these days, and we know that things may be dark, but the Lamb shall receive all the glory. Your willingness to have your reputation completely destroyed and your worldly glory obliterated so that you may follow the Messiah is the most valuable trait.

But Sun Myung Moon was not the Messiah.

He was called to prepare the way. His sufferings will be counted to him, but his enjoyment of the love of man hindered his intimacy with God, and ultimately he never handed the baton to the true Messiah. This true messiah was but a humble disciple of his; one he avoided, and one that lacked all vanity. Providence was completely turned upside down by Moon’s failure to hand over the Kingdom to the true inheritor, and the world was more devastated by this failure than we’ll ever understand. 

The rolling on of providence, the pushing aside of victory, led to the death of many and the further destruction of this world.

But God re-established his throne in the heart of a new man: Salvation Rose.

Salvation Rose is a simple man. Despite his many words, the core of his message is the Kingdom of God, and truly it is at hand. His message is in line with Jesus, and will bring the completion of all ages. His knowledge of the true Divine Principle, not just the fallible textbook, often is misunderstood, and rarely received. 

But when your heart meets the Logos, the Word, in him, you will know how to live in these last days.

Brothers and sisters, you have been faithful servants. But you are very quickly going into dangerous territory. This is a call for you to be humbled and learn how to repent. 

Salvation Rose has come to call in a new day. It is a not an easy road of discipleship, but it is worth it.

[sakrumverum]

dominik: Kardinal Höffner und seine Judenhelfer: Risiko mit glücklichem Ausgang.

<div class="pf-content"><p style="text-align: justify;"><img style="padding-right: 20px; padding-top: 7px;" src="http://blog.forum-deutscher-katholiken.de/wp-content/uploads/Höffner1.jpg" alt="" width="250" align="left" />Kardinal Joseph Höffner hat mit seinen über 4000 Veröffentlichungen schon als Sozialwissenschaftler eine überragende Bedeutung. Seine Wirksamkeit als Bischof und Kardinal ist jedoch nicht geringer einzuschätzen. Seine menschliche Größe als Judenretter verlangt aber noch größere Hochachtung.<br /> Wer einmal in einer Diktatur gelebt hat, weiß wie gefährlich eine humanitäre Hilfe für einen Verfolgten sein kann. Joseph Höffner ist 1904 auf einem Bauernhof im Westerwald geboren. Dass einem Menschen das Leben viel abverlangt, musste er schon mit vier Jahren erfahren, als er das Sterben seiner Mutter miterlebte. Der begabte Junge kam auf das Gymnasium und später zum Studium nach Rom. Als er 1934 als Priester nach Deutschland zurückkam, herrschte hier die Hitler-Diktatur. Dass der Nationalsozialismus mit dem katholischen Glauben nicht vereinbar ist, hatte er schon durch bischöfliche Rundschreiben und durch das Studium der nationalsozialistischen Literatur erfahren. Willi Graf, der später als Mitglied der „Weißen Rose“ hingerichtet wurde, zählte in Saarbrücken zu seinen Ministranten. In Berlin hatte Höffner öfter zu tun, einmal weil dort seine Schwester Elisabeth Seelsorgehelferin war und dann auch, weil er zur Fertigstellung seiner Habilitationsschrift in Berlin Professoren und Archive aufsuchen musste. Bei einem dieser Berlin-Besuche lernte er die jüdische Familie Meyerowitz mit dem siebenjährigen Kind Alice Esther kennen. Schnell entschlossen organisierte Höffner eine „Kinderlandverschickung“ und ließ die kleine Alice Esther in seinen Seelsorgebezirk Kail an der Mosel bringen. Unter strengster Geheimhaltung vertraute er das Kind der Bauernfamilie Wilhelm Heucher an. Dort bekam das Kind den Namen Christa Koch und konnte mit den anderen Kindern des Dorfes die Schule besuchen. Die Rolle eines katholischen Kindes spielte Christa Koch nun so überzeugend, dass keine Zweifel über ihre Herkunft aufkamen. Als Pfarrer Höffner bald darauf nach Trier versetzt wurde, musste er seinen Vorgesetzten Generalvikar Meurers in die Geheimaktion einweihen. Er unterstützte das Kind durch häufige Besuche und vor allem durch heimliche Geld- und Sachspenden. Das Kind überlebte den Krieg und Pfarrer Höffner konnte es Ende 1945 den glücklichen Eltern in Berlin zurückgeben. Sie selbst hatten den Krieg in Berlin in einem leeren Eisenbahnwagen überlebt. Alice alias Christa wanderte später nach Amerika aus und kam 2007 als verheiratete Lisa Lehner nach Deutschland zurück, um sich für die Rettung zu bedanken.<br /> Im Sommer 1943 vermittelte Höffners Schwester Elisabeth ihrem geistlichen Bruder auch das jüdische Arzt-Ehepaar Dr. Edith Nowak zum Verstecken. Dieses Ehepaar brachte Pfarrer Höffner zu seiner Schwester Helene Hesseler auf den elterlichen Bauernhof in Hornhausen im Westerwald. 1946 schrieb Frau Dr. Nowak an Pfarrer Höffner „mit Freuden, um Ihnen endlich einmal zu danken. Damals, als wir nicht wussten wohin, haben Sie uns bei Ihrer Familie im Westerwald untergebracht. Es wäre nicht ohne böse Folgen für Sie und die Ihren geblieben, wenn man erfahren hätte, dass Sie eine Jüdin im Hause verbargen. Glauben Sie mir, dass ich dieses mutige und menschliche Verhalten niemals vergessen werde.“</p> <p>Eduard Werner</p> </div>

--Quelle: http://blog.forum-deutscher-katholiken.de/?p=9388

[scribbleanalysis]

Lotte Wolff, next to Ernst Schoen on a diagram, was physician, palm-reader and sexologist. In 1952 she published this article in Vogue on palm-reading, next to one on graphology, written by Klara G Roman (who published Hand-Writing: A Key to Personality in the same year). Many questions are raised here: the connection between the fashion press and this type of mysticism; the connection between the fashion press and this circle (Helen Hessel, but also Dora Benjamin); the place of adverts in this press (one thinks of the moment in The Salaried Masses when Kracauer surveys the adverts in magazines in the 1920 and lists the concerns as “pens; Kohinoor pencils; hemorrhoids; hair loss; beds; crepe soles; white teeth; rejuvenation elixirs; selling coffee to friends; dictaphones; writer's cramp; trembling, especially in the presence of others; quality pianos on weekly installments; and so on”); also the connection between Wolff’s palm reading and games of chance, gambling, and sociality.

A copy on eBay reveals the rest of the magazine:

[worldfoodbooks]

OPEN TODAY TIL 4 PM. NEW ISSUE of MODE and MODE has arrived! • Mode and Mode 5 ‘Helen Hessel’ features translations of writing by German fashion journalist Helen Hessel (1886-1982), letter correspondence between Hessel and Henri-Pierre Roché, and an interview with Professor Mila Ganeva. • Contributors: Helen Hessel, Mila Ganeva, Sean Ryan and Jeanne Hendrey. • Mode and Mode is a periodical that addresses printed matter in fashion practice. Each issue explores experimental publishing in fashion with an interview around a print-based project — one that has critical effects to fashion as a discourse. In doing so, we reflect on the role of print and its potency to disrupt, or propel, fashion narratives. • Edition of 500, available in the bookshop today and via our website (alongside all back issues). • #worldfoodbooks #modeandmode #helenhessel #henripierreroché (at WORLD FOOD BOOKS)