Word: weimar
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...that they expect a resurgence of authoritarianism; the proven solidity of West Germany's democracy persuasively rules that out Rather, they point to other experiences that have contributed to West German insecurity, like the devastating inflation of the Weimar Republic in 1922-23, which helps explain the German obsession with maintaining the value of their currency...
...final years Einstein was an outspoken foe of McCarthyism, which he felt was an echo of the turbulent events that had preceded the downfall of Germany's Weimar Republic. He urged intellectuals to defy what he considered congressional inquisitions, even at the risk of "jail and economic ruin." He was widely denounced, and Senator Joseph McCarthy called him "an enemy of America." In his last public act, Einstein joined Bertrand Russell and other scholars in a desperate plea for a ban on all warfare...
...PLACE the film in Weimar Germany just as the Nazis are gaining popularity? Herman's movie consciousness is slightly anachronistic if he's living in 1930, and the film might just as easily have been set in the present time. Perhaps Stoppard presents these Nazis as a counterpoint to Herman: they also dream of an ordered, perfect world; they also must cruelly destroy to attain it; they also, ultimately, find that there is no final solution in a chaotic universe. Or perhaps they are merely placed in the film as an irritant, imposing further on Herman's vision...
...asking yourself whether you're any different. Brecht's script keeps up a steady fire of political comment, and his socialism slips in discreetly enough so that even American audiences in the '50s could stomach it. But it's Weill's brooding, often harsh music--so evocative of Weimar Germany's rotten core--that fixes The Threepenny Opera's world of human iniquity and mortality in the audience's mind. Maybe it's just a case of the fascination of the grotesque: the songs aren't beautiful, but you don't forget them...
Holocaust never supplies enough surrounding political and economic context for its drama. The adolescent born in 1965, trying to comprehend what happened so long ago, cannot in the 9½ hours find Germany's post-World War I humiliation, its horrific inflation under Weimar, the strange, grasping hopes that so many Germans invested in Hitler. He or she will not understand why the German people allowed it all to happen, a mystery connected to the question of why the Jews did not comprehend everything earlier...