Word: germanized
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Dates: during 1950-1959
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...reality I am more my mother's son than my father's," Juscelino Kubitschek said recently. Blue-eyed Júlia, granddaughter of a German-speaking immigrant from what is now Czechoslovakia, continued to go by her maiden name after her marriage, and Juscelino grew up as Kubitschek rather than Oliveira. Now that he is famous, his countrymen rarely pronounce the name Kubitschek; he is simply "Juscelino," just as Vargas was always "Getulio...
...wrote about in the Berlin Stories-starvation side by side with luxury, Nazi and Communist bullyboys in the streets, cynicism as heavy as the makeup on the faces of the omnipresent prostitutes. The Threepenny Opera echoed that city. Vaguely based on John Gay's 18th century original, the German libretto by Poet Bert Brecht (now a propaganda wheel in East Germany) had a vicious underdog snarl ("First fill our bellies, then talk morality") and magnificent, vulgar humor. Like the rest of the work, Mack the Knife* was a bitter satire of society and of schmalzy, popular music; it gave...
Vintage Rotgut. For those who want to hear the original version, there is a new Threepenny Opera album in German (Vanguard), fascinating largely because it shows how difficult it is for vintage rotgut to travel. The "chamber orchestra" of the august Vienna State Opera bravely buckles down to the hurdy-gurdy score with its plinky-plink banjos, but it is played with excruciating slowness. The star is a charming Viennese nightclub chanteuse named Liane, who sounds less like Polly Peachum than an operetta shopgirl mooning over an archduke. The record does have its high spots, notably the duet between...
...chilling Berlin Requiem she sings the horrifying vision of a drowned girl whose body is decomposing, limb by limb, as "God gradually forgot her, first her face, then her hands and finally her hair." Funniest for U.S. listeners is a moaning ragtime song written in a German's conception of American English...
...their similarity stops right there. Seeing the contrasts in their art, few would take them for countrymen, let alone contemporaries. Tobey's Transit, for example, relates to no objective visual experience at all, unless it be that of images swimming in the tight-shut eye. Hartley's German Officer deals with a mood, not a visual image. Davis' Eggbeater beats the eggbeater into unrecognizable shape. Hofmann's Red Trickle celebrates an activity rather than a perception. Dove's Abstraction is a generalization of nature, flat yet elusive. Feininger's Gelmeroda multiplies and rearranges what...