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Journal articles on the topic 'Bertolt Brecht'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 March 2023

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1

Durrani, Osman, and Ronald Speirs. "Bertolt Brecht." Modern Language Review 84, no. 1 (January 1989): 260. http://dx.doi.org/10.2307/3732068.

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2

Oliveira, Willy Corrêa de. "Hans Eisler: Companheiro musical de Brecht." Pandaemonium Germanicum, no. 4 (November 5, 2000): 71. http://dx.doi.org/10.11606/1982-8837.pg.2000.64151.

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Dieser Artikel porträtiert den Komponisten Hanns Eisler, dessen Musik zahlreiche Stücke von Bertolt Brecht begleitet, anhand von Äußerungen von Eisler selbst sowie von Arnold Schoenberg und Bertold Brecht. Eisler, der ein neues politisches Bewusstsein in die Musik einführte - Brecht sprach von Misuk im Gegensatz zu Musik-, wäre 1998 100 Jahre alt geworden.

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3

Bohnert, Christiane, Ingrid Hasselbach, and Karlheinz Hasselbach. "Bertolt Brecht: Kalendergeschichten." German Quarterly 65, no. 1 (1992): 89. http://dx.doi.org/10.2307/406830.

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4

Parker, Stephen. "Diagnosing Bertolt Brecht." Lancet 377, no. 9772 (April 2011): 1146–47. http://dx.doi.org/10.1016/s0140-6736(11)60453-4.

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5

White, Alfred D., Steve Giles, and Rodney Livingstone. "Bertolt Brecht: Centenary Essays." Modern Language Review 95, no. 4 (October 2000): 1134. http://dx.doi.org/10.2307/3736694.

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6

Donahue, William Collins, Steve Giles, and Rodney Livingstone. "Bertolt Brecht: Centenary Essays." German Studies Review 23, no. 2 (May 2000): 411. http://dx.doi.org/10.2307/1432739.

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7

Kuzin, Aleksandr S. "OUR CONTEMPORARY BERTOLT BRECHT." Yaroslavl Pedagogical Bulletin 115, no. 4 (2020): 190–98. http://dx.doi.org/10.20323/1813-145x-2020-4-115-190-198.

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8

Haryati, Isti. "TRANSFORMASI TOKOH PEACHUM DARI DRAMA THE BEGGAR’S OPERA KARYA JOHN GAY KE DRAMA DIE DREIGROSCHENOPER KARYA BERTOLT BRECHT." Metahumaniora 12, no. 3 (December 2, 2022): 264. http://dx.doi.org/10.24198/metahumaniora.v12i3.41211.

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Tranformasi tokoh bisa terjadi ketika sebuah karya diresepsi oleh karya lain. Drama Die Dreigroschenoper karya Bertolt Brecht merupakan karya resepsi dari drama The Beggar’s Opera karya Jogn Gay yang tokoh utamanya, yakni Peachum mengalami tranformasi. Artikel ini membahas transformasi tokoh Peachum dari drama The Beggar’s Opera karya John Gay ke dalam drama Die Dreigroschenoper karya Bertolt Brecht. Studi ini mengaplikasikan teori resepsi hans Robert Jauss. Data penelitian ini berupa Hauptext dalam bentuk dialog dan monolog, serta Nebentext dalam drama The Beggar’s Opera dan Die Dreigroschenoper, serta data-data lain yang memuat informasi mengenai bagaimana trasformasi peran tokoh Peachum drama Die Dreigroschenoper. Sumber data dalam penelitian ini adalah teks drama berjudul Die Drei Groschenoper karya Bertolt Brecht, dan teks drama The Beggar’s Opera karya John Gay. Hasil analisis menunjukkan bahwa tokoh Peachum dalam drama Die Dreigroschenoper karya Bertolt Brecht mengalami transformasi peran dan karakter. Transformasi peran dan karakter Peachum dari drama The Beggar’s Opera karya Gay dan ke tokoh Peachum dalam drama Die Dreigroschenoper karya Bertolt Brecht disebabkan karena pengaruh horison harapan yang dipunyai oleh Brecht. Transformasi peran dan karakter yang terjadi dari resepsi karya tersebut berlatar ideologis. Idiologi marxisme yang dianut oleh Brecht menyebabkan Brecht menciptakan tokoh Peachum yang berbeda dan mementingkan materi (kapital) di atas segala-galanya.

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9

Musilová, Marta. "Eugen Berthold, Eugen, posléze Bert a nakonec Bertolt Brecht." Theatralia, no. 2 (2020): 176–78. http://dx.doi.org/10.5817/ty2020-2-12.

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10

Lamoureux, Eve. "Bertolt Brecht : un artiste engagé." Bulletin d'histoire politique 10, no. 2 (2002): 135. http://dx.doi.org/10.7202/1060530ar.

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11

White, Alfred D., and Peter Brooker. "Bertolt Brecht: Dialectics, Poetry, Politics." Modern Language Review 84, no. 1 (January 1989): 258. http://dx.doi.org/10.2307/3732067.

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12

Nadar, Thomas R., and Volker Steenblock. "Bertolt Brecht: Leben des Galilei." Die Unterrichtspraxis / Teaching German 29, no. 1 (1996): 113. http://dx.doi.org/10.2307/3531663.

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13

Adès, Timothy. "Bertolt Brecht: Selected Rhymed Poems." Translation and Literature 15, no. 2 (September 2006): 203–37. http://dx.doi.org/10.3366/tal.2006.0015.

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14

Servin, Micheline B. "De Bertolt Brecht à l’Afrique." Les Temps Modernes 618, no. 2 (2002): 196. http://dx.doi.org/10.3917/ltm.618.0196.

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15

Rundell, Richard J., and Siegfried Mews. "A Bertolt Brecht Reference Companion." German Studies Review 24, no. 2 (May 2001): 414. http://dx.doi.org/10.2307/1433509.

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16

Raddatz, Fritz J., and Baptiste Touverey. "Bertolt Brecht en tyran inspiré." Books N° 41, no. 3 (March 1, 2013): 68–71. http://dx.doi.org/10.3917/books.041.0068.

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17

Barnett, David. "Bertolt Brecht by Meg Mumford." Modern Language Review 105, no. 3 (2010): 914–15. http://dx.doi.org/10.1353/mlr.2010.0137.

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18

Petrie, Graham. "Bertolt Brecht and Béla Balázs." Journal of European Studies 39, no. 2 (June 2009): 172–97. http://dx.doi.org/10.1177/0047244109104077.

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19

Kiralyfalvi, Bela. "GEORG LUKÁCS OR BERTOLT BRECHT?" British Journal of Aesthetics 25, no. 4 (1985): 340–48. http://dx.doi.org/10.1093/bjaesthetics/25.4.340.

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20

Parmalee, Patty Lee, and Raimund Gerz. "Bertolt Brecht und der Faschismus." German Quarterly 58, no. 4 (1985): 628. http://dx.doi.org/10.2307/406970.

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21

Brandon, James M. "Bertolt Brecht (review)." Theatre Topics 20, no. 1 (2010): 77–78. http://dx.doi.org/10.1353/tt.0.0089.

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22

Brecht, Bertolt, and Timothy Ades. "Bertolt Brecht: Selected Rhymed Poems." Translation and Literature 15, no. 2 (2006): 203–37. http://dx.doi.org/10.1353/tal.2006.0015.

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23

Merriam-Paskow, Jacqueline, and Siegfried Mews. "Critical Essays on Bertolt Brecht." German Studies Review 13, no. 1 (February 1990): 173. http://dx.doi.org/10.2307/1431081.

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24

McDowell, W. Stuart. "Bertolt Brecht (review)." Modern Drama 52, no. 4 (2009): 504–6. http://dx.doi.org/10.1353/mdr.0.0137.

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25

Ruda, Claus. "Bertolt Brecht und die Naturheilkunde." Schweizerische Zeitschrift für Ganzheitsmedizin / Swiss Journal of Integrative Medicine 23, no. 2 (2011): 105–8. http://dx.doi.org/10.1159/000325942.

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26

Hanssen, Paula. "Bertolt Brecht: Werke Vol. 10." GDR Bulletin 26, no. 1 (October 17, 1999): 55. http://dx.doi.org/10.4148/gdrb.v26i0.1276.

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27

Gökdağ, Ebru. "Bertolt Brecht in Latin America." International Journal of Human Sciences 12, no. 1 (February 5, 2015): 527. http://dx.doi.org/10.14687/ijhs.v12i1.3103.

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28

Nadel, Ira B. "Boxing with Brecht: David Mamet and Bertolt Brecht." Journal of Dramatic Theory and Criticism 26, no. 1 (2011): 103–24. http://dx.doi.org/10.1353/dtc.2011.0005.

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29

최홍근. "Die theatralische Variation des Themas im epischen Theater Bertolt Brechts - und von Bertolt Brecht -." Journal of Korean Studies ll, no. 36 (March 2011): 219–40. http://dx.doi.org/10.17790/kors.2011..36.219.

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30

Thompson, Bruce, and John Fuegi. "Bertolt Brecht: Chaos, According to Plan." Modern Language Review 83, no. 2 (April 1988): 535. http://dx.doi.org/10.2307/3731800.

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31

Grimm, Reinhold, and Werner Mittenzwei. "Werner Mittenzwei's "Life of Bertolt Brecht"." World Literature Today 63, no. 1 (1989): 63. http://dx.doi.org/10.2307/40145052.

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32

Rundell, Richard J., John Fuegi, Hans Bunge, and Ruth Berlau. "Bertolt Brecht: Chaos, According to Plan." German Quarterly 61, no. 3 (1988): 480. http://dx.doi.org/10.2307/406464.

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33

Roque Baldovinos, Ricardo. "En el centenario de Bertolt Brecht." ECA: Estudios Centroamericanos 53, no. 597-598 (August 31, 1998): 686–89. http://dx.doi.org/10.51378/eca.v53i597-598.6376.

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34

Esslin, Martin, and John Fuegi. "Bertolt Brecht: Chaos according to Plan." Theatre Journal 39, no. 4 (December 1987): 523. http://dx.doi.org/10.2307/3208264.

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35

Vanhelleputte, Michel. "Bertolt Brecht et la Guerre d'Espagne." Revue belge de philologie et d'histoire 65, no. 3 (1987): 515–21. http://dx.doi.org/10.3406/rbph.1987.3590.

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36

Freeman, Michael. "Truth and Justice in Bertolt Brecht." Cardozo Studies in Law and Literature 11, no. 2 (December 1999): 197–214. http://dx.doi.org/10.2307/743444.

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37

Heitz, Raymond. "La théorie dramatique de Bertolt Brecht." Études Germaniques 269, no. 1 (2013): 153. http://dx.doi.org/10.3917/eger.269.0153.

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38

Oesmann, Astrid. "Bertolt Brecht: Performance and Philosophy (review)." Modern Drama 50, no. 3 (2007): 460–62. http://dx.doi.org/10.1353/mdr.2007.0058.

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39

Skrziepietz, Andreas. "Medical student Bertolt Brecht (1898–1956)." Journal of Medical Biography 17, no. 3 (August 2009): 179–84. http://dx.doi.org/10.1258/jmb.2009.009020.

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Summary Bertolt Brecht was one of the most important dramatists of the 20th century. At the start of his career he studied literature but switched from the humanities to medicine. This paper discusses reasons for this switch, the influence of his medical experiences on his poetic work and why he eventually abandoned his medical career. His political development towards Marxism is described and a short sketch of his theory of theatre is given. He is considered the most important German-speaking dramatist of the 20th century.

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40

Bradley, Laura. "Book Review: Philip Glahn: Bertolt Brecht." Journal of European Studies 44, no. 4 (November 5, 2014): 436–37. http://dx.doi.org/10.1177/0047244114553765n.

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41

Freeman, Michael. "Truth and Justice in Bertolt Brecht." Cardozo Studies in Law and Literature 11, no. 2 (December 1999): 197–214. http://dx.doi.org/10.1525/lal.1999.11.2.02a00060.

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42

Brandon, James M. "Bertolt Brecht: Performance and Philosophy (review)." Theatre Journal 59, no. 2 (2007): 330–32. http://dx.doi.org/10.1353/tj.2007.0085.

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43

Freeman, Michael. "Truth and Justice in Bertolt Brecht." Law & Literature 11, no. 2 (December 1999): 197–214. http://dx.doi.org/10.1080/1535685x.1999.11015596.

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44

AKGÜL, YILDIZ, and Tülay Tülay. "Bertolt Brecht: toplumsal olan değiştirilip dönüştürülebilendir." Tiyatro Ara, no. 35 (2013): 7–22. http://dx.doi.org/10.1501/tad_0000000293.

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45

Haryati, Isti. "PEREMPUAN MANDIRI DALAM NOVEL BUMI MANUSIA KARYA PRAMUDYA ANANTA TOER DAN DRAMA MUTTER COURAGE UND IHRE KINDER KARYA BERTOLT BRECHT." Adabiyyāt: Jurnal Bahasa dan Sastra 4, no. 1 (June 5, 2020): 66. http://dx.doi.org/10.14421/ajbs.2020.04104.

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The purpose of this study to describe and reveal the comparation of the independence of female characters in Pramoedya Ananta Toer’s Bumi Manusia and in Bertolt Brecht’s Mutter Courage und Ihre Kinder. This research is a qualitative descriptive study using the comparative literature method. This research will describe and comprehend the comparison of independent female characters in the Pramudya Ananta Toer’s Bumi Manusia and in Brecht’s Mutter Courage und Ihre Kinder by Bertolt Brecht. The results showed that from the comparison of two independent female character in two literary works, namely novel Bumi Manusia and drama Mutter Courage und Ihre Kinder, it can be concluded that there are many similarities of the two independent female characters despite the difference. Equation (affinity) also showed that the two works were created by different authors are also mutually influence. Drama Mutter Courage und Ihre Kinder by Bertolt Brecht created in 1938 possibly affect Bumi Manusia novel created by Pramoedya Ananta Toer in 1975. Moreover, both authors are communist and they created the two literary works while in exile.

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46

Knierzinger, Lucas. "Nachleben und Dokumentation: ‚Antigone‘ als Modellbuch bei Bertolt Brecht." Jahrbuch der Deutschen Schillergesellschaft: Internationales Organ für Neuere Deutsche Literatur 2022, no. 66 (January 30, 2023): 211–40. http://dx.doi.org/10.46500/83535275-008.

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The paper elaborates on the format of the model book in Bertolt Brecht’s work, focusing on the 1948 production of ‘Antigone’. For this performance, Brecht developed a model book together with Ruth Berlau and the stage designer Caspar Neher in order to document the development and staging of the play. The paper explores the interrelation between Brecht’s concept of the model and the practices, narrative procedures, and media of documentation. In this context, the question of afterlife proves to be central both to the plot of ‘Antigone’ and to questions of documenting and archiving theatrical work. The paper problematizes the model book as an essential example of Brecht’s work politics, in which claims of regulation and control conflict with those of unplanned change and renewal.

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47

Neveux, Olivier. "Savoir et émancipation (notes sur Bertolt Brecht)." Raison présente 185, no. 1 (2013): 83–90. http://dx.doi.org/10.3406/raipr.2013.4449.

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48

Kölbl, Joseph. "Bertolt Brecht en quête d’une musique épique." Germanica, no. 36 (June 30, 2005): 81–99. http://dx.doi.org/10.4000/germanica.1515.

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49

Giles, Steve. "Bertolt Brecht, Logical Empiricism, and Social Behaviourism." Modern Language Review 90, no. 1 (January 1995): 83. http://dx.doi.org/10.2307/3733255.

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50

Pauset, Brice. "Das Einfachste, schwer zu machen [Bertolt Brecht]." Circuit 15, no. 3 (February 1, 2010): 71–72. http://dx.doi.org/10.7202/902371ar.

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En prenant la gare de Darmstadt comme métonymie, le compositeur français, qui a fréquenté les Ferienkurse au cours des années 1990, les décrit sous le double signe de la ruine et du consumérisme. Il n’exclut pourtant pas que puisse s’y manifester quelque forme de transcendance.

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