German poets of the 20th century. Great German poets and writers

Read by Y. Rumyantsev, N. Trifilov, M. Terekhova

German poetry of the first half of the 20th century

Side 1
R. DEMEL
Summer evening.
Translation by G. Zabezhinsky

S. GEORGE
We walk slowly to the gate...
Translation by G. Zabezhinsky
The early evening makes the roads scary.”
Translation by W. Elsner

Twilight of Peace
Dante and the poem of modernity
Translation by A. Steinberg

G. HESSE
Ravenna
Translation by W. Elsner
Read by Yu. Rumyantsev
Sadness
Translation by N. Maltseva

B. BRECHT Burning of books"
TranslationB. Slutsky
G. HAUPTMANN
Terzins.
Translation by V. Levik
Read by V. Trifilov
G. De Fort
Voice of the Tempter
Translation by S. Averntsev
G. KAROSSA
Captives and the old man.
Translation by A. Steiberg
M. Terekhova sneezes
A. GAUSHOFER
When the despot Shi Huangdi sensed it.
Translation in. Levika
R. Schneider
Death stood before me...
Translation by S, Averntseva
The seal of mercy and sin...
Translation R; Dubrovkina
Read by N. Trifilov

There are still a lot of blank spots on the Russian map of European poetry. Historical events The 20th century did not contribute to close and constant communication between cultures European peoples. Of the German poets of the first half of the 20th century, only Brecht and Rilke were studied relatively seriously in our country. Meanwhile German language poetry the first quarter of the 20th century experienced an extraordinary flourishing along with all European culture that period. It took place against the backdrop of unprecedented development in all spheres of humanitarian thought, philosophy, sociology, cultural studies - against the backdrop of lively interest in all types of arts. During these decades, the works of M. Heidegger and Z. Freud were created in the German world. K. Jaspers. L. Wittgenstein, Max Weber,T. Mann. R. Walser. R. Musil. F. Kafka, G. Hauptmann, G. Hesse, R. M. Rilke and others.
Like most European literatures, German poetry at the beginning of the 20th century abandoned the poetic aesthetics of the 19th century. It also undergoes breakdown poetic forms, stylistics of the language of poetry itself. With a speed unknown to previous eras, modernism, expressionism, propaganda poetry of the 20s, natural school(“naturgedicht”), surrealism, until finally the coming to power of the fascists imposed the aesthetics of sugary optimism and primitive mysticism on German art. Real writers were divided into external and internal emigrants. Their common goal was to oppose the totalitarian regime, which arrogated to itself the right to speak on behalf of the entire nation, and built its power on nationalist demagoguery.
None of the poetic movements of the 20th century passed by German poetry. True”, some trends, for example surrealism, did not become dominant in it, as happened in many other countries. There was no symbolism as a separate movement in Germany. There were poets on whom symbolism had a decisive influence, becoming only one of the components of their figurative language. A truly German movement was expressionism, which dominated literature for almost two decades. Its influence will be felt in all areas German art subsequent time.
The disc begins with poems by R. Demel (1863 - 1920), whose lyrical creativity stands at the origins of the 20th century. A poet who proclaimed the freedom of the individual, who believed in the flourishing of civilization and in the coming flourishing human soul, was in his poems an exponent of the universal hopes of Europe, its faith “in the rationality of human feeling.” Poetry of S. Gheorghe (1868 - 1933) - highest achievement symbolic direction in Germany. Without a doubt, Gheorghe's language was influenced by the French, but Gheorghe is stricter. Stylized, absorbing traditions German classics, his poetry rushed between the doctrine of “beautiful existence,” i.e., the promotion of aesthetic isolation, and the need for renewal folk life. In his best poems, Gheorghe goes beyond his own aesthetic program. His poetry is full of insights, penetrations into the mysterious depths of the soul.
At the end of the first decade in artistic environment Expressionism begins to mature in Germany - a movement that is destined to become mainstream for almost two decades. One of its first heralds was the poet Georg Heim (1887 - 1912), who tragically died in an accident, who brilliantly predicted the coming abominations of the century. In the last year of his work he broke with traditional style and content. Game defined the face of expressionism. Image of morgues in moonlight, landscapes of death, faceless and sick night walkers, ghosts of an impending catastrophe operating under the rule of demonic forces: Heim predetermined the spirit of expressionist poetry, regardless of whether it addressed socially critical themes (W. Hasenclever, 1890 - 1940), to the grotesque of decay , symbolizing the doom of urban civilization (A. Liechtenstein, 1889 - 1914), whether it was directed against the aestheticism of George and representatives of neo-romantic poetry, promoting the beauty of the ugly (J. van Godzis, 1887 -1942), or was it an expression of the world's sorrow of the new a time filled with inner restlessness, gloomy forebodings and deep sadness (E. Lasker-Schuler, 1869 -1945).
But the history of German poetry of the 20th century is not limited to the history of trends: So. G. Boni (1886 - 1956) already in the expressionist period abandoned the characteristic pathos of the representatives of this movement and began to create his own aesthetics. Called by him “creative nihilism,” it viewed the artist’s world as a world independent of historical process, which does not fit into the framework of any direction. This also applies to G. Hesse (1877 - 1962), whose traditional lyrics were created as if outside modern influences, having absorbed the features and German romanticism, and classics. Nevertheless, Hesse is the son of his century. While remaining formally traditional, he expressed in his poetry many of the passions and spiritual quests of his time. Having lived great life, outposts and the Art Nouveau era, and the expressionism of surrealism. Hesse remained true to himself, developing traditional meditative lyrics, concerned about the future of humanity, expressing for decades persistent confidence in the fulfillment of humanity's dream of earth as a world of brotherhood and spiritual perfection.B. von Munchausen (1874-1945) and R. Borchart (1877-1945) belonged to the conservative wing of modern German literature. Trying (especially Borchart) to enrich modern language, to create a new “synthetically archaic”. Their merit, without a doubt, is in preserving deep traditions, in enriching them literary language contemporaries, in a reminder of the persistence of traditional forms, of their inexhaustible possibilities.
The poems of G. Colmar (1894-1943), who died in the concentration camp, are full of impressions from the natural world, an unquenched thirst for love and motherhood, which are in constant conflict with creative destiny poet.
The Alsatian I. Goll, one of the few representatives of German surrealism, appears as a very special figure. Having enriched German expressionist verse with French influences, skillfully combining the concrete with the abstract, combining the incompatible, Gaul achieves the deepest symbolic sound in his poems and expands the figurative possibilities of German verse.
Many of the poems presented on the record can be classified as poetry of a socially critical nature. Taking its roots back to the Middle Ages, it gave prominent representatives in the XVIII and 19th centuries, German poetry with a social orientation turned out to be especially necessary in our tragic age. Its most prominent representatives are B. Brecht (1898-1956) and I.R. Becher (1891-1968). The paths of these poets are different, their poetic manners are different, but they are united by the pain that resonates from verse to verse for the fate of their homeland, the desire to, through creativity, contribute to its salvation and revival.
The album ends with poems by three poets, whose fate symbolizes the fate of Germany in the first half of the 20th century, symbolizes the end of a huge period of German humanistic culture, its tragedy, its collapse and ability to revive, - A. Gaushofer (1903 - 1945), R. Schneider (1903 - 1958) and
G. Karossy (1878-1956). Despite all their differences creative ways, the legacy of these three poets has become a monument to spiritual resistance recent years existence of Hitler's Reich. “Moabite Sonnets” by A. Gaushofer, a participant in the anti-Hitler conspiracy on July 20, 1944, who was shot by the Nazis shortly before coming to Berlin Soviet army, written at the end of 1944 or at the beginning of 1945. Sonnets by R. Schneider, religious writer-philosopher, were secretly distributed in the Reich in handwritten lists, finding their way even to concentration camps, for which R. Schneider was charged with “preparations for high treason” at the end of the war. Many poems by the poet of internal emigration G. Karossa, who lived detached from everyone political events, were published only after the war. These are uncompromising lines about native people, about his fate, full of faith in his future.
Russian poets have so far translated little of the vast heritage of modern German poetry. And what is translated, for the most part, is in tune with the Russian tradition, Russian ideas about poetry. However, in compiling this record, we sought to select the best of what Russian translators have done, to give an idea of ​​the various poetic movements and genres of German poetry and, at least partly, poetic image Germany in the first half of the 20th century. It turned out that this image develops on its own in the process of work, because there is little that... translated, was mainly associated with tragic events in the history of this country.
The journey to poetic Germany of the first half of the 20th century is just beginning. Let this sound publication be the first ship on the ocean, capable of giving many poetic discoveries. Let's wish him a happy voyage.
V. Weber

GREAT GERMAN WRITERS AND POETS

Christian Johann Heinrich Heine(German: Christian Johann Heinrich Heine, pronounced Christian Johan Heinrich Heine; December 13, 1797, Düsseldorf, - February 17, 1856, Paris) - German poet, publicist and critic. Heine is considered the last poet of the “romantic era” and at the same time its head. He did colloquial capable of lyricism, raised a feuilleton and travel notes before artistic form and gave a previously unfamiliar elegant lightness to the German language. Composers Franz Schubert, Robert Schumann, Richard Wagner, Johann Brahms, P. I. Tchaikovsky and many others wrote songs based on his poems.

Johann Wolfgang von Goethe(German: Johann Wolfgang von Goethe German pronunciation of the name (inf.); August 28, 1749, Frankfurt am Main - March 22, 1832, Weimar) - German poet, statesman, thinker and naturalist.

Johann Christoph Friedrich von Schiller(German: Johann Christoph Friedrich von Schiller; November 10, 1759, Marbach am Neckar - May 9, 1805, Weimar) - German poet, philosopher, art theorist and playwright, professor of history and military doctor, representative of the Sturm und Drang and Romanticism movements literature, author of "Ode to Joy", a modified version of which became the text of the hymn European Union. He entered the history of world literature as an ardent defender of the human personality. During the last seventeen years of his life (1788-1805) he was friends with Johann Goethe, whom he inspired to complete his works, which remained in draft form. This period of friendship between the two poets and their literary polemics entered into German literature called "Weimar classicism".

Brothers Grimm (German: Brüder Grimm or Die Gebrüder Grimm; Jacob, January 4, 1785 - September 20, 1863 and Wilhelm, February 24, 1786 - December 16, 1859) - German linguists and researchers of German folk culture. They collected folklore and published several collections called “Fairy Tales of the Brothers Grimm,” which became very popular. Together with Karl Lachmann and Georg Friedrich Beneke, they are considered the founding fathers of German philology and German studies. At the end of their lives they began creating the first dictionary German language: Wilhelm died in December 1859, having completed work on the letter D; Jacob survived his brother by almost four years, having completed the letters A, B, C and E. He died at his desk, working on the word nem. Frucht (fruit). Brothers Wilhelm and Jacob Grimm were born in the city of Hanau. For a long time lived in the city of Kassel.

Wilhelm Hauff (German Wilhelm Hauff, November 29, 1802, Stuttgart - November 18, 1827, ibid.) - German writer and short story writer, representative of the Biedermeier movement in literature.

Paul Thomas Mann(German: Paul Thomas Mann, June 6, 1875, Lubeck - August 12, 1955, Zurich) - German writer, essayist, master epic novel, laureate Nobel Prize in literature (1929), brother of Heinrich Mann, father of Klaus Mann, Golo Mann and Erica Mann.

Erich Maria Remarque(German Erich Maria Remarque, born Erich Paul Remarque, Erich Paul Remark; June 22, 1898, Osnabrück - September 25, 1970, Locarno) - a prominent German writer of the 20th century, representative lost generation. His novel "On Western Front Without Change" is one of the big three novels of the "Lost Generation", published in 1929, along with the works "A Farewell to Arms!" Ernest Hemingway and "Death of a Hero" by Richard Aldington.

Heinrich Mann (German Heinrich Mann, March 27, 1871, Lubeck, Germany - March 11, 1950, Santa Monica, USA) - German prose writer and public figure, elder brother of Thomas Mann.

Bertolt Brecht (German: Bertolt Brecht; full name- Eugen Berthold Friedrich Brecht, Eugen Berthold Friedrich Brecht (inf.); February 10, 1898, Augsburg - August 14, 1956, Berlin) - German playwright, poet, novelist, theatrical figure, art theorist, founder of the Berliner Ensemble theater. The work of Brecht - a poet and playwright - has always caused controversy, as has his theory " epic theater", and him Political Views. However, already in the 50s, Brecht's plays became firmly established in the European theatrical repertoire; his ideas in one form or another were adopted by many contemporary playwrights, including Friedrich Dürrenmatt, Arthur Adamov, Max Frisch, Heiner Müller.

Heinrich von Kleist(German: Bernd Heinrich Wilhelm von Kleist; October 18, 1777, Frankfurt an der Oder - November 21, 1811, Wannsee, near Potsdam) - German playwright, poet and prose writer. One of the founders of the short story genre (“Marquise d’O” 1808, “Earthquake in Chile”, “Betrothal in San Domingo”). In 1912, in the year of the centenary of the writer’s death, the prestigious German literary prize Heinrich Kleist.

Gotthold Ephraim Lessing(German: Gotthold Ephraim Lessing; January 22, 1729, Kamenz, Saxony, - February 15, 1781, Brunswick) - German poet, playwright, art theorist and literary critic-educator. The founder of German classical literature.

Lion Feuchtwanger(German Lion Feuchtwanger, July 7, 1884, Munich - December 21, 1958, Los Angeles) - German writer Jewish origin. One of the most widely read German-speaking authors in the world. He worked in the genre of historical novel.

Stefan Zweig (German: Stefan Zweig - Stefan Zweig; November 28, 1881 - February 23, 1942) - Austrian critic, author of many short stories and fictionalized biographies. Was friends with people like that famous people like Emile Verhaerne, Romain Rolland, France Maserel, Auguste Rodin, Thomas Mann, Sigmund Freud, James Joyce, Hermann Hesse, H.G. Wells, Paul Valéry, Maxim Gorky, Richard Strauss, Bertolt Brecht.

ABSTRACT

On the topic of: German literature of the 20th century

CONTENT
Introduction………………………………………………………………………...3
I. German literature from the beginning of the 20th century to 1933…………………...5
II. German literature during the fascist dictatorship…………………...7
III. Post-war German literature………………….……………….….10
3.1. Literature of Germany………………….………………….…………………10
3.2. Literature of the GDR………………….……………………………………..13
3.3. Literature of Austria and Switzerland………………….………………..15
IV. Modern literature in German……………………………...16
Conclusion…………………………….…………………. ……………………...18
Glossary of terms and concepts……………………………………………………………... 19
Bibliography…………………………..………………………... .22
Introduction

The processes taking place in German literature of the 20th century were very complex and heterogeneous. The first imperialist war, revolutions, fascist dictatorship, World War II, the defeat of Nazism, the division and unification of Germany - this is the historical background against which German-speaking writers work.
The main feature of the literary and artistic paradigm of the beginning of the century is the multi-vector interaction (repulsion, denial, borrowing, influence) of its inherent elements.
By the beginning of the 20th century, realism in German literature was gaining strength. The formation of realism occurs in a complex interaction with non-realistic movements.
On the eve of the First World War, in an atmosphere of growing revolutionary crisis, expressionism was born. Ecstatic expressionist lyrics and dramaturgy call for a renewal of the world, but in an abstract, utopian way. Many realists are influenced by expressionism.
Based on the reactionary apologizing literature of the beginning of the century, literature arose preaching counter-revolution, chauvinism and aggression, logical conclusion which fascist anti-art became. During the Second World War, many writers had to emigrate or be in camps in England and France.
Twelve years of fascist rule did not pass without a trace, and during the Second World War, the German nation, like the whole of Europe, suffered enormous moral damage. The lessons of history, including its artistic development, were important for the divided German consciousness: for strengthening the self-awareness of older generations and those who went through two world wars, and especially for the younger generation, trampled and scattered by the winds of the Second World War.
The fight against fascism, the existence and collapse of Hitler's Reich, the post-war fate of the Germans in the newly created two states of the GDR and the Federal Republic of Germany for a long time determined the path of development of German literature. In general, the period of Nazi totalitarianism was a significant test, presenting every writer with a choice, not so much aesthetic as political. The desire to understand what happened prompts many writers to critically reconsider moral and social values.
After the unification of Germany at the end of the 20th century, the search for a way out of the gravitational field of the topic of “German war guilt” became relevant; the “historical direction” of literature is developing - about the confrontation in the recent past between the two Germanys and the fate of people who found themselves between the two systems; New names appear, but at the same time books by older generation writers continue to be published.
Thus, German literature of the 20th century was greatly influenced by various philosophical teachings and concepts, as well as political and historical events. The complex processes of German-language literature of the 20th century, which had a colossal impact on the development of world literary life, still require deep understanding today.

I. German literature from the beginning of the 20th century to 1933

First of all, let us consider at what stage German literature was at the beginning of the 20th century.At the turn of the century, the German impressionists experienced a reaction against naturalism, which led to the emergence of unrealistic movements, such as neo-romanticism, symbolism, etc.
However, it should be emphasized that if in “The Sunken Bell” (1896) by Hauptmann the symbolism continued to express humanistic quests, then the symbolism and apology of statehood by S. George was an outright manifestation of decadence.
In those same years, realism was gaining strength in German literature. Social analysis deepens in T. Mann's novel “Buddenbrooks” (1901), in the first novels of G. Mann and B. Kellerman. As we have already noted, the formation of realism occurs in a complex interaction with non-realistic movements (features of aestheticism in “Goddesses”, 1903, G. Mann, the influence of impressionism on the early Kellerman). One of the main themes of T. Mann is the tragic fate of the artist in bourgeois society (short stories “Tonio Kroeger”, 1903, “Death in Venice”, 1913).
With the advent of Freud's pioneering work, the center of gravity in literature shifted from social conflicts to a more subjective study of the individual's reactions to the environment and himself.At the same time, interest in the work of Nietzsche flared up, whose analysis of traditional morality is based on his famous thesis “God is dead.”As a result, the philosopher’s ideas resulted in the wonderful, strict in form poems of George, whose poetry, as already emphasized above, echoes French symbolism. Rilke, on the other hand, was focused on himself and his art. The senseless horrors of the First World War forced him to seek his own esoteric worldview in “Duinese Elegies” (1923) and “Sonnets to Orpheus” (1923), which are rightfully considered the peaks of poetry.
It is quite natural that after the First World War the need for new values ​​strongly asserted itself. The Expressionists loudly and sharply proclaimed the reform of society and the individual.As a result, on the one hand, literature calling for aggression arose, but on the other hand, humanistic literature also strengthened.
T. Mann creates new genre- intellectual novel (“The Magic Mountain”, 1924). In connection with the intensification of the reaction, the anti-war theme acquires current significance (E.M. Remarque’s novel “All Quiet on the Western Front”, 1929, A. Zweig’s first novels). Social contradictions are reflected in the works of L. Frank, G. Fallada, A. Döblin, author of the novel “Berlin, Alexanderplatz” (1929), and L. Feuchtwanger in the novel “Success”. (1930), which warns of the dangers of fascism.
In the 2nd half of the 20s, a young generation of writers emerged, emerging from the school of expressionism (I. Becher, F. Wolf, A. Segers, W. Bredel, E. Weinert, etc.), and laid the foundations of a new artistic method. Brecht develops the concept of epic theater (the plays “The Threepenny Opera” (1928), “Saint Joan” (1929-30), “Mother” (1930-32)).
After Hitler came to power, literature became an object of persecution. On May 10, 1933, at the Opera Square in Berlin, the Nazi victory was marked by the burning of books. The number of unwanted writers in Germany alone will eventually reach almost six thousand, and it will include not only communists, democrats and Jews, but also all freedom-loving classics, expressionists, humanists and pacifists.

II. German literature during the fascist dictatorship

After the establishment of the fascist dictatorship in Germany, T. Mann, G. Mann, L. Feuchtwanger, E. M. Remarque, L. Frank, A. Zweig, B. Brecht, I. Becher, A. Segers, E. Weinert and others emigrated Hauptmann, G. Fallada, and Kellerman remain in the country, but they hardly participate in literary life. Some writers, unable to withstand emotional distress, committed suicide (S. Zweig, W. Benjamin, K. Einstein).
The existence of independent literature and literary criticism became impossible. The regime welcomed only the so-called “literature of blood and soil”; along with it, there was entertainment literature that was partly free from ideology. Opponents of the regime were threatened with death, Jacob van Goddis, Karl von Ossietzky and Reinhardt were killed. The rest were forced to either write on abstract topics or shelve their manuscripts (G. Benn, E. Junger, E. Kästner, W. Köppen, J. Weinheber, A. Miguel, G. Jost).
It was proposed to create within the framework of 4 genres, approved by the 8th Directorate of the Ministry of Education and Propaganda and the Imperial Chamber of Literature (since 1933 it was headed by playwright H. Jos):
1) “front-line prose”, glorifying front-line brotherhood and wartime romanticism;
2) “party literature” – works reflecting the Nazi worldview;
3) “patriotic prose” - nationalistic works, with an emphasis on German folklore, the mystical incomprehensibility of the German spirit;
4) “racial prose” exalting the Nordic race, its contribution to world civilization, the biological superiority of the Aryans over other “inferior” peoples.
A number of capable writers were recruited to collaborate with the Third Reich, in particular E. Gleser and H. Grimm, whose novel “A People Without Space” was widely used by Nazi propaganda.
Of course, writers who participated in the Resistance wrote a heroic page in the history of German literature (“Moabite Sonnets” by Haushofer, 1903-45, found after the execution of the author). The most significant was the work of anti-fascist emigration (the novels “The Test” (1935) by Bredel, “The Seventh Cross” (1939) and “Transit” (1943) by Segers, the best plays by Brecht: “Mother Courage and Her Children” (1939), “The Good Man" from Szechwan" (1938-40), "The Career of Arturo Ui" (1941)). The anti-fascist historical and philosophical novel: the trilogy “Joseph and His Brothers” (1933-43) by T. Mann and “The Jewish War” (1932) by Feuchtwanger. T. Mann writes a novel about the vocation of an artist (about Goethe) “Lotte in Weimar” (1939). The motley composition of the emigration is depicted in “Exile” (1939) by Feuchtwanger and in “ Arc de Triomphe"(1946) Remarque. The best books of this time, imbued with concern for the fate of Germany and all humanity, influenced the history of German humanistic literature.
After the war, many German and Austrian writers did not return to their homeland, such as G. Broch, winner of the 1981 Nobel Prize in Literature E. Canetti, L. Feuchtwanger, T. and G. Mann, Remarque, L. Frank, A. Zweig , B. Brecht, I. Becher, A. Segers, E. Weinert.But they continued to develop themes related to their anti-fascist position. Remarque reveals the tragedy of an ordinary German, a victim and accomplice of the national catastrophe generated by fascism. T. Mann summed up his thoughts on the fate of civilization in the novel “Doctor Faustus” (1947). Feuchtwanger created a series of post-war historical novels (Goya, 1951, Foxes in the Vineyard, 1947, The Wisdom of an Eccentric, 1952). Fallada's last novel, Everyone Dies Alone (1947), reflects the writer's anti-fascist views.
In general, the period of Nazi totalitarianism was a significant test for writers, putting everyone before a choice, not so much aesthetic as political. As for Germany, in 1949 the independent development of the literature of the GDR and the Federal Republic of Germany began.

III. Post-war German literature 3.1. Literature of Germany

The events of the 2nd World War 1939-45, the fight against fascism, the existence and collapse of Hitler's Reich, the post-war fate of the Germans in the newly created two states (GDR - German Democratic Republic and West Germany - Federal Republic of Germany) for a long time determined the path of development of literature in West Germany.
Literature of the first post-war years described mainly the horrors of war and the fate of those who returned to their homeland. Thus, G. Bell, winner of the 1972 Nobel Prize in Literature, writes short stories on this topic.
Anti-fascist and anti-militaristic pathos united into the “Group 47” (named after the year of formation) writers of different political convictions and aesthetic principles: the “traditional” realist H.V. Richter (“Broken”, 1949, “Thou shalt not kill”, 1955), prone to satirical symbolism of M. Walser (“Oak and Rabbit”, 1962, “Black Swan”, 1964), existentialist Andersch, master philosophical lyrics G. Eich, avant-garde poet W. Weihrauch, as well as critic, essayist and poet W. Jens, whose work is marked by a penchant for intellectual aesthetics. Group 47 also included G. Bell, who passionately condemned the war unleashed by the Nazis in the novel “Where Have You Been, Adam?” (1951).
Some authors (L. Frank) come to socialist views (the novel “The Disciples of Jesus,” 1949; the autobiographical book “On the Left, Where the Heart is,” 1952) or feel the need to address problems and events of a political nature (K. Edschmid, the novel “If This roses, they will bloom"). Others seek support in religion ( Christian motives by Gertrude von Le Fort) or fall into extreme skepticism (Langgesser). Still others go into the intimate world of melancholic experiences, enjoying the refined sense of nature (the poetry of V. Lehman).
At the same time, the so-called trivial novel became widespread in Germany - a variety of “ mass literature", where the authors talk about the war in a superficially entertaining form, with external signs realistic narrative, but, in essence, justifying the fascist past (H.H. Kirst, novel trilogy “08/15”, 1954-55). Close to the “trivial” is the soldier’s novel, in which the apology for the “small” person who is not responsible for anything and the cult of the notorious “front-line comradeship” echo the direct rehabilitation of the fascist Wehrmacht, drawing closer to neo-Nazi literature that promotes militarism, chauvinism and anti-communism (H. Grimm, V. Boimelburg).
Since the beginning of the 50s, in the atmosphere of an economic boom (economic miracle), such types of mass literature as trivial “women’s”, detective novels, “spy” books, “rock” novels, and decadent literature have come to life in Germany. A number of young poets in Germany were influenced by the social nihilism and deep skepticism of the poetry of G. Benn. It is symptomatic that during these years many of the bourgeois humanist writers who returned to their homeland after the war emigrated from Germany (A. Döblin, F. von Unruh) or found themselves in isolation (Frank; Refisch; Lampel).
Among the best works of the period of the 50-60s are Bell’s novels, full of humanism and compassion, “And He Didn’t Say a Single Word” (1953), “Billiards at Half Nine” (1959), “Through the Eyes of a Clown” (1963); satirical novels Hartung “We Are the Prodigies” (1957), Richter “Linus Fleck, or Lost Dignity” (1959), Grass “The Tin Drum” (1959) and “Dog Years” (1963), P. Shalluk “Don Quixote in Cologne” ( 1967); acute psychological novels by W. Köppen “Pigeons in the Grass” (1951), “Greenhouse” (1953), “Death in Rome” (1954); satirical songs and short stories by E. Kästner (1899-1974).
In the late 60s and early 70s, psychological prose developed in the literature of Germany (G. Woman). During the Vietnam War and the “68 movement,” political poetry (G. Enzensberger, E. Fried) and political drama (R. Hochhuth) appeared. The opposite of them is the “new subjectivity” of the 70s, which puts forward foreground problems of private life and the realization of dreams (Y. Teobaldi, Sarah Kirsch, T. Bernhard).
etc.................

Germany is the birthplace of many famous composers, writers, poets, playwrights, philosophers and artists. German (Germanic) culture has been known since the 5th century. BC e. The culture of Germany also includes the culture of Austria and Switzerland, which are politically independent from Germany, but are inhabited by Germans and belong to the same culture.

GREAT GERMAN WRITERS AND POETS

Christian Johann Heinrich Heine (German: Christian Johann Heinrich Heine, pronounced Christian Johan Heinrich Heine; December 13, 1797, Düsseldorf, - February 17, 1856, Paris) - German poet, publicist and critic. Heine is considered the last poet of the “romantic era” and at the same time its head. He made the spoken language capable of lyricism, raised the feuilleton and travel writing to an artistic form, and imparted a previously unknown elegant lightness to the German language. Composers Franz Schubert, Robert Schumann, Richard Wagner, Johann Brahms, P. I. Tchaikovsky and many others wrote songs based on his poems.

Johann Wolfgang von Goethe (German Johann Wolfgang von Goethe German pronunciation of the name (inf.); August 28, 1749, Frankfurt am Main - March 22, 1832, Weimar) - German poet, statesman, thinker and natural scientist.

Johann Christoph Friedrich von Schiller (German: Johann Christoph Friedrich von Schiller; November 10, 1759, Marbach am Neckar - May 9, 1805, Weimar) - German poet, philosopher, art theorist and playwright, professor of history and military doctor, representative of the Sturm und Drang and Romanticism movements literature, author of “Ode to Joy”, a modified version of which became the text of the anthem of the European Union. He entered the history of world literature as an ardent defender of the human personality. During the last seventeen years of his life (1788-1805) he was friends with Johann Goethe, whom he inspired to complete his works, which remained in draft form. This period of friendship between the two poets and their literary polemics entered German literature under the name “Weimar classicism.”

Brothers Grimm (German: Brüder Grimm or Die Gebrüder Grimm; Jacob, January 4, 1785 – September 20, 1863 and Wilhelm, February 24, 1786 – December 16, 1859) were German linguists and researchers of German folk culture. They collected folklore and published several collections called “Fairy Tales of the Brothers Grimm,” which became very popular. Together with Karl Lachmann and Georg Friedrich Beneke, they are considered the founding fathers of German philology and German studies. At the end of their lives, they began creating the first dictionary of the German language: Wilhelm died in December 1859, having completed work on the letter D; Jacob survived his brother by almost four years, having completed the letters A, B, C and E. He died at his desk, working on the word nem. Frucht (fruit). Brothers Wilhelm and Jacob Grimm were born in the city of Hanau. For a long time they lived in the city of Kassel.

Wilhelm Hauff (German Wilhelm Hauff, November 29, 1802, Stuttgart - November 18, 1827, ibid.) - German writer and short story writer, representative of the Biedermeier movement in literature.

Paul Thomas Mann (German: Paul Thomas Mann, June 6, 1875, Lubeck - August 12, 1955, Zurich) - German writer, essayist, master of the epic novel, Nobel Prize winner in literature (1929), brother of Heinrich Mann, father of Klaus Mann, Golo Mann and Erica Mann.

Erich Maria Remarque (German Erich Maria Remarque, born Erich Paul Remarque, Erich Paul Remark; June 22, 1898, Osnabrück - September 25, 1970, Locarno) - a prominent German writer of the 20th century, a representative of the lost generation. His novel All Quiet on the Western Front is one of the big three “Lost Generation” novels published in 1929, along with A Farewell to Arms! Ernest Hemingway and "Death of a Hero" by Richard Aldington.

Heinrich Mann (German Heinrich Mann, March 27, 1871, Lubeck, Germany - March 11, 1950, Santa Monica, USA) - German prose writer and public figure, older brother of Thomas Mann.

Bertolt Brecht (German: Bertolt Brecht; full name - Eugen Berthold Friedrich Brecht, Eugen Berthold Friedrich Brecht (inf.); February 10, 1898, Augsburg - August 14, 1956, Berlin) - German playwright, poet, novelist, theater figure, art theorist, founder theater "Berliner Ensemble". The work of Brecht - a poet and playwright - has always caused controversy, as well as his theory of "epic theater" and his political views. However, already in the 50s, Brecht's plays became firmly established in the European theatrical repertoire; his ideas in one form or another were adopted by many contemporary playwrights, including Friedrich Dürrenmatt, Arthur Adamov, Max Frisch, Heiner Müller.

Heinrich von Kleist (German: Bernd Heinrich Wilhelm von Kleist; October 18, 1777, Frankfurt an der Oder - November 21, 1811, Wannsee, near Potsdam) - German playwright, poet and prose writer. One of the founders of the short story genre (“Marquise d’O” 1808, “Earthquake in Chile”, “Betrothal in San Domingo”). In 1912, in the year of the centenary of the writer’s death, the prestigious German Heinrich Kleist literary prize was founded.

Gotthold Ephraim Lessing (German: Gotthold Ephraim Lessing; January 22, 1729, Kamenz, Saxony, - February 15, 1781, Brunswick) - German poet, playwright, art theorist and literary critic-educator. The founder of German classical literature.

Lion Feuchtwanger (German Lion Feuchtwanger, July 7, 1884, Munich - December 21, 1958, Los Angeles) - German writer of Jewish origin. One of the most widely read German-speaking authors in the world. He worked in the genre of historical novel.

Stefan Zweig (German: Stefan Zweig - Stefan Zweig; November 28, 1881 - February 23, 1942) - Austrian critic, author of many short stories and fictionalized biographies. He was friends with such famous people as Emile Verhaerne, Romain Rolland, France Maserel, Auguste Rodin, Thomas Mann, Sigmund Freud, James Joyce, Hermann Hesse, H.G. Wells, Paul Valery, Maxim Gorky, Richard Strauss, Bertolt Brecht.

GREAT GERMAN AND AUSTRIAN SCIENTISTS

Johann Carl Friedrich Gauss (German: Johann Carl Friedrich Gauß; April 30, 1777, Braunschweig - February 23, 1855, Göttingen) - German mathematician, mechanic, physicist, astronomer and surveyor. Considered one of the greatest mathematicians of all time, the "King of Mathematicians". Laureate of the Copley Medal (1838), foreign member of the Swedish (1821) and Russian (1824) Academies of Sciences, and the English Royal Society.

Gottfried Wilhelm Leibniz (German Gottfried Wilhelm Leibniz or German Gottfried Wilhelm von Leibniz, IPA (German): June 21 (July 1) 1646 - November 14, 1716) - German philosopher, logician, mathematician, mechanic, physicist, lawyer, historian, diplomat, inventor and linguist. Founder and first president of the Berlin Academy of Sciences, foreign member French Academy Sci.

Leonard Euler (German: Leonhard Euler; April 15, 1707, Basel, Switzerland - September 7 (18), 1783, St. Petersburg, Russian empire) - Swiss, German and Russian mathematician and mechanic, who made a fundamental contribution to the development of these sciences (as well as physics, astronomy and a number of applied sciences). Euler is the author of more than 850 works (including two dozen fundamental monographs) on mathematical analysis, differential geometry, number theory, approximate calculations, celestial mechanics, mathematical physics, optics, ballistics, shipbuilding, music theory and other fields. He deeply studied medicine, chemistry, botany, aeronautics, music theory, and many European and ancient languages. Academician of the St. Petersburg, Berlin, Turin, Lisbon and Basel Academies of Sciences, foreign member of the Paris Academy of Sciences.

Ludwig Boltzmann (German Ludwig Eduard Boltzmann, February 20, 1844, Vienna, Austrian Empire - September 5, 1906, Duino, Italy) - Austrian theoretical physicist, founder of statistical mechanics and molecular kinetic theory. Member of the Austrian Academy of Sciences (1895), corresponding member of the St. Petersburg Academy of Sciences (1899) and several others.

Max Karl Ernst Ludwig Planck (German: Max Karl Ernst Ludwig Planck; April 23, 1858, Kiel - October 4, 1947, Göttingen) - German theoretical physicist, founder quantum physics. Winner of the Nobel Prize in Physics (1918) and other awards, member of the Prussian Academy of Sciences (1894), a number of foreign scientific societies and academies of sciences.

For many years, one of the leaders of German science. Wilhelm Conrad Roentgen

(German pronunciation Röntgen) (German Wilhelm Conrad Röntgen; March 27, 1845 - February 10, 1923) - an outstanding German physicist who worked at the University of Würzburg. Since 1875 he has been a professor in Hohenheim, since 1876 - professor of physics in Strasbourg, since 1879 - in Giessen, since 1885 - in Würzburg, since 1899 - in Munich. The first Nobel Prize laureate in the history of physics (1901). Albert Einstein (German Albert Einstein, MFA; March 14, 1879, Ulm, Württemberg, Germany - April 18, 1955, Princeton, New Jersey, USA) - theoretical physicist, one of the founders of modern theoretical physics, winner of the Nobel Prize in Physics 1921, public figure-humanist. Lived in Germany (1879-1893, 1914-1933), Switzerland (1893-1914) and the USA (1933-1955). Honorary doctor of about 20 leading universities in the world, member of many Academies of Sciences, including foreign honorary member of the USSR Academy of Sciences (1926). Einstein - author of more than 300 scientific works

in physics, as well as about 150 books and articles in the field of history and philosophy of science, journalism, etc.