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weboftigers · 1 year
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"Mother died today. Or maybe yesterday; I can't be sure." 🚬 - "The Stranger" by Albert Camus
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binnylouis · 2 years
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Winter Sleep (2014) . . . . . . . . . #wintersleep #nuribilgeceylan #turkey #anatolia #turkish #melisasözen #halukbilginer #demetakbağ #tamerlevent #nejatişler #iterature #theatre #play #antonchekhov #chekhov #fyodordostoyevsky #dostoyevski #dostoevsky #thebrotherskaramazov #thebestmovielinesofficial #marriage #divorce #writing #writers #poverty #family #religion #spirituality #islam #istanbul https://www.instagram.com/p/CcLQO0ovSej/?igshid=NGJjMDIxMWI=
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workingonit-currently · 8 months
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fatecanberewritten · 6 months
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I felt as if I has committed some great crime, the consciousness of which haunted me.
Mary Shelley, Frankenstein
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tintenspion · 1 year
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Der rote Kampfflieger
publication history, propaganda value, and different versions
by @tintenspion, December 2022
Der rote Kampfflieger (The Red Air Fighter), published in 1917 and translated in 1918 is regarded to be the autobiography of Manfred von Richthofen. It was, and still is, the best selling german book about the first world war. In this post I will talk about how it was written and published, adress some personally selected instances of propaganda found in the book and explain the changes other publications of the book have made (focusing on the versions of 1920 and 1933).
This post is incredibly simplified and I can recommend reading the sources that I have listed, as they cover the topic in a lot more depth (but they're almost all in german)
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Der Rote Kampfflieger, 1917
The publication history
Manfred von Richthofen began writing his biography in May 1917. He had rejected requests writing a book multiple times before, because he did not feel that he had the talent nor the time to write. However, he was asked by the command of the aerial forces to write one and since that was essentially an order he accepted a request by the publisher Ullstein. (1)
Most historians agree that the book was essentially ghostwritten by Hauptmann Erich von Salzmann, who based it on acconts given in stenography by MvR. Salzmann was not credited for the book, however in the contract with Ullstein (the publisher) MvR gave Salzmann full authority over what parts of the stenography he adapts into the finished book, without having to get MvRs consent. (2)
Due to a lack of an original draft, is not reconstructable what parts of the book are actually written by him, which parts were ghostwritten and which parts were edited for propaganda purposes.
The intentions
Ullstein Kriegsbücher, the series Der rote Kampfflieger was published in was a series that focused on "firsthand accounts" of front soldiers, which explains why the book still uses an easy and "uneducated" language despite being mostly written by a ghostwriter. (3) This was done on purpose to make the reader identify more with MvR, since the divide between him and the average reader was already there due to him being an aristocrat. The books also focuses a lot on the fallibility of its main character, Manfred von Richthofen. He is portrayed as a little naive; someone who has no idea how war works and therefore makes a lot of mistakes. Examples include: Capturing french soldiers in a house and letting them escape on accident, giving wrong hand signs that almost get his division killed, failing his piloting exam and hitting his finger on a propeller. This is also done to make him more relatable to the average reader. (4)
The second part of the book focuses then on his life as a pilot and a squadron leader. The book goes out of its way to portray Richthofen as very humble. It is for example described how "in the flying corps we dont think about records. We only do our duty." [DRK p.154]. This is obviously an instance of propaganda, as records and victory numbers were contrary to this statement very important to the individual pilots. To portray MvR's "chivalry", they use a very interesting stylistic device. MvR calls himself a "Weidmann" (hunter) in comparison to his brother, whom he denounces as a "Schießer" (shooter). The word Weidmann, in contrast to Jäger, implies an unofficial hunters code on how to hunt in an honorable way. (5) In modern times, this comparison seems kind of grotesque, as MvR views his enemies as prey to be hunted. Downplaying the death enemy pilots and comparing the dogfights to a hunting situation is a reaccuring theme in iterature written by and about german ww1 pilots and is not exclusive to Manfred von Richthofen. (6)
The most infamous example of editation for propaganda regarding the "honorable fight" is probably the discription of MvR's 33rd victory: In the book it is described that MvR flew low over the downed plane to check if the pilots were dead, they are not and shoot back at him, however he decides to just fly away and not retaliate. (7) In his combat report for that victory however, he described that he did retaliate and killed one of the occupants. (It is notable that, according to Algernon Peter Warren, the pilot that survived, they actually didn't shoot back at Richthofens plane. Warren notes that there was ground fire coming from the trenches, and Richthofen probably mistook that for the downed plane firing at him). (8) Due to the fact that MvR seems to have been truthful in his combat report, it is to assume that the change in the book was most likely done by the censorship and not by Richthofen himself.
Richthofens view on his own book
MvR didn't really care about his autobiography. I believe this for multiple reasons: He says that he is not a good writer (9) and that he rejected writing an autobiography multiple times (as mentioned before). Also I believe if he really cared about how he was portrayed in his autobiography he wouldn’t have given Salzmann the rights to change things without him checking them first.
Ein Heldenleben, 1920
Published under the name "Ein Heldenleben", this was the version that had the worst sale numbers, however it is also the one that includes the most material. It was also edited by Salzmann. (10) It includes the original biography, shortened, and adds about 200 extra pages. Those extra pages include:
"Hinterlassene Papiere" (leftover papers): Excerpts from either letters to his family, his diary or rejected chapters of the autobiography (historically unclear)
A selection of letters to his mother
Excerpts from his brother Lothar
An account about Manfred as a child written by his mother
German, english and french articles about his last flight, death and funeral
Obituaries
Memories of Richthofen: Articles and anecdotes from other people who knew or met him
This book is regarded as the most detailed versions and is free from government censorship. Salzmann in this case only worked together with the Richthofen family, who probably decided what will go into the book and what won't. I need to point out however that some of the articles in "Memories of Richthofen" were already published in newspapers during the war, so those definetly had to pass a censorship comittee. I would still regard this version as the most trustworthy one out of the tree I am presenting.
Der Rote Kampfflieger, 1933
This version of the book is the one that had the most copies sold. It was edited by Hans Rudolf Berndorff. (11) Differences, aside from a couple of chapters having different titles and some chapters having been combined, include the removal of the first two chapters, and the inclusion of four extra chapters, with three of them having not been published beforehand. The book starts with a foreword by Hermann Göring an introduction written by MvR's brother Bolko. It also includes some chapters from his brother Lothar (the same as in the 1920 version, however a couple have been removed). The book also uses some of the letters that were published in Ein Heldenleben and add them to the autobiography (mostly) chronologically.
Especially notable is the often referenced chapter Gedanken im Unterstand (Thoughts in the shelter), where MvR talks about how his feelings towards the war have changed since his autobiography came out in may. The chapter was a letter to his mother, however it has been cut a lot, so we don't exactly know when and why it was written.
This book, in contrast to Ein Heldenleben, focuses more on the military aspects of MvR's life, as it is a part of Nazi propaganda.
Other publications of the book:
There was a version published in 1977, that included the full autobiography written by Friedrich Wilhelm Korff. In 1990 another version was published with a foreword written by Manfred Wörner, a former NATO secretary. I have not included an analysis of these two books, as they “only” evaluate the morals of the latter three. This is an entirely different topic, and a very complicated one, that deserves its own post.
The first english translation was published in 1918. I already made a post about a few translation mistakes, that you can see here.
Peter Kilduff also translated both the 1917 and the 1933 version.
Conclusion
In my opinion, the book is mostly interesting because you can see how the myth of Manfred von Richthofen was reshaped to fit different narratives and propaganda purposes over the course of 80 years. I wouldn't take it as a trustworthy source, especially regarding MvR's feelings towards the war, but I do believe it is a good guideline. Something to be weary of while reading biographies about Manfred von Richthofen or watching video essays about him is when people take the autobiography a little too much at face value and automatically assume that the propagada in it was edited by him personally and not by the editor.
Sources:
(1) CASTAN, Joachim: Der Rote Baron: Die ganze Geschichte des Manfred von Richthofen (2008) ISBN 9783608944617, p. 148f [AN: currently looking for a primary source; this book does exactly what I described in "conclusion"]
(2) SCHILLING, René: Der Körper des “Helden”. Deutschland 1813–1945 In: Bielefelder Graduiertenkolleg Sozialgeschichte: Körper Macht Geschichte – Geschichte Macht Körper. Körpergeschichte als Sozialgeschichte (1999) ISBN 9783895342806, p. 132
(3) SEIDEL, Nadine: Wie man Helden ediert. Ein Ausgabenvergleich von Manfred von Richthofens Der rote Kampfflieger. In: GLUNZ, Claudia; SCHNEIDER, Thomas F. : Dichtung und Wahrheit. Literarische Kriegsverarbeitung vom 17. bis zum 20. Jahrhundert (2015) ISBN 9783847104872, p. 69f
(4) SEIDEL, Nadine: “Nicht 'Schießer' sondern 'Weidmann': Wie ein missverstandenes Ethikkonstrukt Manfred von Richthofen zum Helden werden ließ. In: SEYBERT, Gislinde: Heroisches Elend - Misères de l’héroïsme - Heroic Misery: Der Erste Weltkrieg im intellektuellen, literarischen und bildnerischen Gedächtnis der europäischen Kulturen - Teil 1 und 2 - La Première Guerre mondiale dans la mémoire intellectuelle, littéraire et artistique des cultures européennes- 1 ère 2 (2014) ISBN 9783631636626, p. 748-753
(5) ibid, p.744ff
(6) VOIGT, Immanuel: Stars des Krieges: Eine biografische und erinnerungskulturelle Studie zu den deutschen Luftstreitkräften des Ersten Weltkrieges (Zeitalter der Weltkriege, 20, Band 20) (2019) ISBN 9783110605020 p. 176-183
(7) RICHTHOFEN, Manfred von: Der rote Kampfflieger (1917) p. 126
(8) FRANKS, Norman; GIBLIN, Hal; McCRERY, Nigel: Under the Guns of the Red Baron: The Complete Record of Von Richthofens Victories and Victims Fully Illustrated (1998) ISBN 9781898697961, p.91f
(9) RICHTHOFEN, Manfred von: Ein Heldenleben (1920), p. 330
(10) SCHILLING, René: Der Körper des “Helden”. Deutschland 1813–1945 In: Bielefelder Graduiertenkolleg Sozialgeschichte: Körper Macht Geschichte – Geschichte Macht Körper. Körpergeschichte als Sozialgeschichte (1999) ISBN 9783895342806, p. 132
(11) SEIDEL, Nadine: Wie man Helden ediert. Ein Ausgabenvergleich von Manfred von Richthofens Der rote Kampfflieger. In: GLUNZ: Dichtung und Wahrheit. Literarische Kriegsverarbeitung vom 17. bis zum 20. Jahrhundert (2015) ISBN 9783847104872, p. 72
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best-habsburg-monarch · 4 months
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Pedro the II had to grow up without a father, who abandoned him, and without his mother (who was horribly mistreated by Pedro I). Despite this lonely childhood, he became seen as embodying liberal ideas in the Americas. Under Pedro the Second. the international slave trade to Brazil was made illegal and slavery was gradually abolished. He was constructed as a symbol of Brazilian national identity. He supported art and culture with many cultural organizations in Brazil able to be traced back to hispatronagee. The Royall Library of Portuguese :iterature and the Brazilian Historic and Geographic Institute was founded under his patronage. He loved the arts and sciences and was the first Brazilian photographer
He was such a cute nerdy boy that he had an observatory added to the Palace of São Cristovão! He also had three libraries in this palace with over 60,000 books!
He loved to learn languages and could speak Portuguese, english, spanish , German, Italian, spanish, and also studied greek latin, hebrew, tupi provençal, chinese, sanskrit and arabic!
He famously said that if he had not been an emperor, he would have wanted to be a teacher!
This aesthetic blorbo would have loved tumblr!
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oneardentstudybuddy · 2 years
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Saturday, the 7th of May
Getting up at 5:30 am felt natural at this point. My partner and I rushed to the airport, shared a lovely breakfast and then kissed goodbye. He's going to be thousands of kilometers away and I had to head to the train station to travel back to my hometown. At the end of this day I will have spent most of my time in buses and trains but it was worth it. Even just to say goodbye. Also, I enjoy travelling. It's when I feel most alive. The positive stress kicks in and I get most of my writing done sitting in a tiny waggon while staring out the window every once in a while.
Studying
Finish reflective portfolio
Finish annotating the Anglo-Saxon Chronicles
Finish annotating the iterature on Louis XIV and the Empire
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laniaakea · 11 months
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Red from osp gives me so much motivation!
I love science as well as literature and philosophy, and like to find connections between them/handle iterature with more of a methodical approach.
She has a goddamn degree in math - and still manages to make those amazing videos. And she's not superficial at all. That's why i like them so much.
It just gives me hope. Just because I want to study chemistry in college (cause i really like it), it does not mean i need to forfeit all my other interests! On the contrary...
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atwozstory · 1 year
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Satyajit Ray: A Pioneer in Indian Cinema
One of the most influential filmmakers of the 20th century was Satyajit Ray,
an Indian director, screenwriter, and author. His works have made a lasting
impression on the history of global cinema, and he has made enormous
contributions to Indian cinema.
Early Life and Career
On May 2, 1921, Satyajit Ray was born in Kolkata, British India.
His mother, Suprabha Ray, was a vocalist, and his father,
Sukumar Ray, was a writer and poet. Early exposure to l
iterature, music, and the arts helped Ray cultivate a keen
aesthetic sensibility. He continued his education by enrolling
at Presidency College in Calcutta and Visva-Bharati University
in Santiniketan, where he first encountered the writings of
Rabindranath Tagore and other notable figures in Bengali literature.
Ray began working as a visualizer for a British advertising agency
in Calcutta after he finished his education. He spent more than ten
years working there, learning vital filmmaking skills that would later
be useful to him in his work as a director.
 Also, he mastered the craft of filmmaking on his own by reading
books and watching movies.
Filmmaking Career
The first film made by Satyajit Ray, Pather Panchali
(Song of the Little Road), based on a book by
Bibhutibhushan Bandopadhyay, launched his
career as a director in 1955. The movie, which
was made on a tight budget with a mostly
unprofessional cast, is about a little child
growing up in rural Bengal. The movie was
a critical and financial hit and earned
numerous international honors, including
the 1956 Cannes Film Festival's Best Human
Documentary Award.
In what became known as the "Apu Trilogy,"
Ray went on to produce two further movies:
Aparajito (The Unvanquished) in 1956 and
Apur Sansar (The World of Apu) in 1959. 
The trilogy focuses on the life of Apu, a young
man who matures in India after Independence.
Jalsaghar (The Music Room), released in 1958,
Charulata (The Lonely Wife), Nayak (The Hero),
released in 1966, and Ghare-Baire (The House
and the World), released in 1984, are some of
Ray's other well-known movies. His films gained
notoriety for their realism, lyricism, and meticulousness
. He was also a master of visual narrative, making excellent
use of lighting and camera angles.
In addition to being a filmmaker, Ray was also a writer,
composer, and graphic artist. He published a number of
works, including a Feluda-starring detective novella
collection. Together with designing the posters, he also
created the music for his movie.
Legacy
The impact Satyajit Ray had on Indian cinema is enormous.
His films continue to be praised for their realism, compassion,
and beauty. He is widely considered as the founder of Indian
art cinema. Many modern Indian directors, including Mira Nair,
Deepa Mehta, and Shekhar Kapur, have been influenced by him.
The Golden Lion at the Venice Film Festival, the Golden Bear
at the Berlin International Film Festival, and the Academy Honorary
Award for Lifetime Achievement are just a few of the countless
international accolades Ray's movies have received. He received
the Bharat Ratna, India's highest civilian honor, posthumously in 1992.
A heart attack and other health issues led to Satyajit Ray's
death on April 23, 1992, at the age of 70.Several of his
admirers and coworkers expressed their sorrow at his
passing, which was a major loss to Indian cinema. Ray
made a significant contribution to Indian cinema, and his
works are still praised for their beauty, compassion, and
realism. By his creative output and the impact he has on
present-day Indian filmmakers, his legacy endures.
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swueesharts · 1 year
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Starting from Scratch; A new page in my life
Hello people and rocks, it has been a while since I've written here.
A lot has happened these past few weeks, and I think unwrapping them here would be a great start to my new attempt to blog routinely.
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-A pile of teddy bears I discovered during lunch at School.
To begin with, I would like to say that I am transferring schools for the final year of my high school life! Now for all of you people overseas, that wouldn't be that big of a deal. But if I may, I ask to paint this picture; in Korean high schools, lest you take the CSATs, only the first semester of the 3rd year would apply to your college admissions. In other words, I would only have 4 months minimum to somehow adapt to my new school whilst improving my grades stat.
Speaking of adapting, I am also having a hard time trying to organise my old life at my curent school. Despite my hatred for its questionable allocation of assignments and my hollow social life that took place in the school, I still did find some hidden joy in it. I got to meet alot of great, inspiring people, I got to witness alot of wonderful moments from people growing their relationships and themselves. I also had a wonderful time studying English and Spanish with the natives there.
Considering all of that, I find it difficult to abruptly end my journey here. If I transfer, would I be able to form new relationships that I couldn't do til' now? Would I even be able to keep in touch with my old connections as well? And not to mention, would I be able to learn and study English all on my own now that I'll transfer to a normal korean high school?(My current high specializes in foreign languages, or so they claim to be.)
These questions plague my heart, and so for the first time ever, I discovered what it really meant to be troubled as a soon-to-be adult. With no reasonable place to unload, I can't do anything other than hoard all of these troubles within me unanswered. It could just be overthinking things, or it could be my personal warning to myself of the unwanted consequences I'll face in my new page in life.
To soothe these maladies, I looked into the language cafe near my art cram school. Despite its age limit of 20s and up, I'm planning to barge into the cafe when only the owner's present and consult with them to make me an exception. If that fails... I suppose I'll keep trying.
I'm also gonna do my part in maintaining my English fluency at home too. That means indulging myself in English media only, rejuvenating my english iterature passion, and writing on this tumblr weekly, or even daily.
If any of you pals have any great tips or any recommendations on keeping up my fluency in Korea, hit me up. I am open minded enough from the depseration to try anything.
In other news, I got hooked up on the Netflix show about the Konmari method, starring Marie Kondo. I did see the parodies modern adult animations did to poke fun at her philosophy, but I never really knew who she was or what the method entailed exactly. Basically, it's a way to give your house a massive overhaul based on the utils of your belongings. Simply keep the things that truly "spark joy", while thanking the belongings that no longer serves a meaningful purpose and giving them away. This philosophy truly spoke to me as I have a massive problem with hoarding.
You see, I had this aching paranoia that anything I'd discard would've served a greater purpose in the future in ways I can't foresee. So this paranoia stops me from truly discarding anything, to the point of driving my family crazy. I've even had my online friends call my old bedroom pics messy and disorganized.(although in an a e s t h e t i c way, apparently).
I have fortunately grew wary of this problem thanks to the criticisms, and I did improve on my hoarding issues. But alas, the issue still manages to subsist on my paranoia, and it still plagues our home. So I'm hoping that the konmari method would help with the house overhaul my mom planned for the winter holidays.
In conclusion, I had alot of dilemmas concerning my school transfer, tried to think of ways to rememdy my concerns, and also discovered the konmari method much to my delight.
This was Swueesharts, and I'll hope to see you guys soon.
Cheers!
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de-morte · 3 years
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Sketch by Channing H.M
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littlestpersimmon · 4 years
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Dorian Gray and Victor Frankenstein be like:
This is terrible and also my fault but maybe if I ignore it it will go away even tho all my loved ones will pay the ultimate price for my headassery
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twostarsinonesphere · 4 years
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remember when leigh bardugo ( @lbardugo ) named the irish-coded (how do i explain this? bardugo adapts real cultures such as ireland, russia, england, the netherlands, india, norway etc into fantasy cultures) gang leader who methodically assassinates his enemies and who is fiercely proud of his homeland pekka rollins?
i fuckin remember that
(do i sense......... mick?)
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First I lost the memory of her eyes, then the memory of her long body. I kept her smile as long as possible and then, finally lost that three years ago.... I try to refresh my memory: I need to feel all the tenderness that she inspires; it is there, this tenderness, it is near me, only asking to be born. But the smile does not return: it is finished. I remain dry and empty.
Jean-Paul Sartre, from “Nausea”, translated from the French by Robert Baldick
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dearerato · 5 years
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from The Secret History by Donna Tartt
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poesiasomostodas · 5 years
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Esposo: Quiero cerrar los ojos, entre la oscuridad buscar la nada. Hallar en mis despojos la libertad soñada: no puedo desclavarme tu mirada.
Fragmento de “Fuegos fatuos”, Esther Giménez.
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