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Ulrich Elkmann Offline




Beiträge: 13.459

10.10.2023 02:04
Kenji Miyazawa, "Der Erdgott und der Fuchs" (1934) Antworten



"Les hommes seront toujours fous; et ceux qui croient les guérir sont les plus fous de la bande." - Voltaire

Ulrich Elkmann Offline




Beiträge: 13.459

16.10.2023 14:19
#2 RE: Kenji Miyazawa, "Der Erdgott und der Fuchs" (1934) Antworten

Kleiner bibliographischer Nachtrag. In "Zum Planetarium: Wissensgeschichtliche Studien," hg. : Boris Goesl, Hans-Christian von Herrmann, und Kohei Suzuki, 2018, über das ich gerade erst stolpere, findet sich kein Eintrag zu Kenji Miyazawa.

Klappentext: "Als begehbares, immersives Modell des Kosmos gewährte das Projektionsplanetarium zu Beginn des 20. Jahrhunderts erstmals die Erfahrung einer vollkommen technisch durchdrungenen Natur. In den Jahren 1919 bis 1925 wurde in den Jenaer Zeiss-Werken ein kuppelförmiges Gebäude erfunden, das für seine Besucher den natürlichen Eindruck von Fixsternen und Planeten aus einer Projektion von Lichtpunkten und einer komplexen Überlagerung von Drehbewegungen hervorgehen ließ: das Projektionsplanetarium. Damit trat der entgötterte und in seinen Erscheinungen allein den Gesetzen von Newtons Mechanik folgende Sternenhimmel, an dem die Transzendentalphilosophie Kants die Autonomie des Erkenntnissubjekts exemplifiziert hatte, ins Zeitalter seiner technischen Reproduzierbarkeit ein. Als Simulation des raum-zeitlichen Umweltbezugs des Menschen wurde das Projektionsplanetarium zu einem Ort, an dem mitten im städtischen Alltag Natur als Produkt medialer Prozesse hervortrat und zugleich ästhetisch der Übergang in neue technische Umwelten eingeübt werden konnte."

Ansonsten findet sich im Inhaltverzeichnis dieses, nicht sonderlich Vielversprechendes:

- Joachim Krause, "Sternenschau und Schalenbau: Die Doppelerfindung des Zeiss-Planetariums" (S. 41-68)
- Gabriele Gramelsbertger, "Simulation in frühen Projektionsplanetarien" (74-76)
- Kohei Suzuki, "Freischwebende Sterne in Stereokomparator" (77-137)
- Ludwig Meier, "Raumfahrteffekte im Planetarium" (221-223)
- David McConville, "Das Universum domestizieren" (227-253)
- Sven Messerschmidt, "Movie-Drome (Sten VanDerBeck)" (236-257)
- Susanne Hüttemeister, "Astronomie(didaktik) im Planetarium heute" (258-259)
- Tim Florian Horn, "Fulldome-Projektion in Planetarien und/oder Wissenschafskommunikation im Planetarium" (260-261)
- Jürgen Mittelstrass, "Rettung der Phänomene" (308-310)
- Stephan Grössel, "Raumrevolution und Planetariumsdispositiv" (311-312)

Ansonsten findet sich im Stichwortverzeichnis kein Eintrag für Alice Munro, deren Erzählung "The Moons of Jupiter" (1978) eine Planetariumsvorführung im Zentrum hat, noch für Cees Nooteboom, in dessen "Het volgende verhaal" (1990) genau diese medial-vermittelte Weltraumschau (in National Air and Science Museum in Washington) anhand von Voyager I eine zentrale Funktion hat. Dante & Gilles Deleuze finden sich, aber nicht James Dean, obwohl eine Planetariumsshow in "Rebel Without a Cause" nicht ganz unwichtig ist und das Griffith-Observatorium für zwei Generationen Kinogeher zu einem Lien de mémoire gemacht hat. Dafür findet sich auf S. 31 in einer Fußnote eine Erwähnung von Nathalie Sarrautés Nouveau Roman "Le Planetarium," der mit dem Thema genau nichts zu tun hat.

Zitat
Nathalie Sarraute (* 1902) erzählt in dem Roman »Das Planetarium« die Geschichte von »Typen«, die zwar Namen tragen, doch Vertreter des »man« sind. Der ehrgeizige Kunststudent und Schriftsteller Alain ringt um die Anerkennung der arrivierten Schriftstellerin Germaine und versucht, seine Tante aus ihrer eleganten Wohnung zu verdrängen, um in mondänem Rahmen Freunde empfangen zu können. Der Leser kann sich mit den Ereignissen und Personen nicht identifizieren, da sie in ständig wechselnden Perspektiven charakterisiert und gedeutet werden. Nathalie Sarrante zählt zu den Wegbereiterinnen des »nouveau roman« (Neuer Roman).


https://www.wissen.de/lexikon/sarraute-n...das-planetarium

Zitat
Nathalie Sarraute: Le Planétarium (The Planetarium)
Sarraute’s third novel was the one that brought her literary fame. As she herself remarked the reasons for this are clear – it was her first novel with a (sort of) plot and with named characters. As with most of her work, it is not about the great issues of the day but about tropisms, what pushes us and what pulls us. The novel centres around Alain Guimier and four women in his life. The first is Aunt Berthe who, to Alain’s father’s disgust, has had a lot of influence on Alain and made him the essentially weak man he now is. Alain is married to Gisèle and their flat is not as nice as Aunt Berthe’s Aunt Berthe has promised it to Alain and Gisèle and then backs down. This change of heart – which is common in Sarraute’s work – naturally makes an impression on Alain and his attitude towards his dearly beloved aunt changes. In addition to Aunt Berthe and Gisèle, the other two women are his mother-in-law and the writer, Germaine Lemaire. His mother-in-law dotes on him, making his favourite grated carrot (which he immediately denies liking) and offering two leather armchairs (which he and Gisèle disdain). Like many men, he does not want to be controlled by his mother-in-law. However he deeply admires Germaine Lemaire and is always seeking her approval, though he may well be the better (though less successful) writer. But plots are not what Sarraute is about and this plot is, of course, not what makes this novel. Beneath it all Sarraute explores the tropisms of life, how little things make us change our behaviour and direction and how the surface is nothing because it all happens underneath.


https://www.themodernnovel.org/europe/w-...te/planetarium/

Zitat von Hans-Christian Von Herrmann, 'Zum Planetarium'
In Nathalie Sarrautes Roman Le Planétarium (Paris: Gallimard, 1959; dt. Das Planetarium, übers. v. Elmar Tophoven, München: Deutscher Taschenbuch Verlag, 1965) verweist der Titel auf die als sous-conversation bezeichnete Ebene vorbewusster Minidramen, die als erlebte Rede in der dritten Person die direkte Rede unterbricht und durch Äußerungen der Angst und Aggressivität gekennzeichnet ist: „… der Himmel dreht sich über ihm, die Sterne kreisen, er sieht die Bewegung der Planeten, ein Schwindel, eine Angst, eine Panik erfaßt ihn, alles schwankt plötzlich, überschlägt sich …“ (Ebd., S. 227). Vgl. dazu ausführlicher: Herrmann Hans-Christian von, „,Der bestirnte Himmel über mir …‘ Das Projektionsplanetarium in der Wissenskultur der Moderne“, in: Astroculture. Figurations of Cosmology in Media and Arts, hg. v. Sonja Neef/Henri Sussman/Dietrich Boschung, München: Wilhelm Fink, 2013, S. 101-118. In einer als journalistischer Bericht über das New Yorker Hayden Planetarium getarnten konzeptuellen Bild-Text-Collage der beiden Künstler Mel Bochner und Robert Smithson, erschienen unter dem Titel „The Domain of the Great Bear“ im Herbst 1966 in der Zeitschrift Art Voices, ist vom Wirbel frei verfügbarer Universen („vortex of disposable universes“) die Rede, in dem die Gestalt des Menschen und seine Geschichte verschwinden; Bochner, Mel, „Secrets of the Domes: On ‚The Domain of the Great Bear‘“, in: Artforum (September 2006), S. 340-345, hier S. 344. (31-32, n.68)



"Les hommes seront toujours fous; et ceux qui croient les guérir sont les plus fous de la bande." - Voltaire

Ulrich Elkmann Offline




Beiträge: 13.459

16.10.2023 14:27
#3 RE: Kenji Miyazawa, "Der Erdgott und der Fuchs" (1934) Antworten

Am anspielungsvollsten im metaphorischen Hallraum in diesem Band wohl noch das Gedicht von Durs Grünbein, das den Ausfästzen als eine art Pröomium auf dem Theater vorgeschaltet ist.

DURS GRÜNBEIN, Planetarium

Dies ist das All im Kinderaugenglanz, ein elektrisches All
Unterm Himmelsdom, im phantasierenden Licht
Des Projektors – wie ausgeblasen bei Stromausfall.
Das sind die Sterne, die Planeten noch einmal,
Versetzt in einen Kinosaal. Sie sind weit näher,
Intimer als da draußen die realen, fast zu Haus.
Vertraut wie Kinderspielzeug, irreal in einem All,
Das zwischen Knall und Knall unmerklich expandiert.

Da geht es zu wie unterm Schädeldach. Sie sitzen weit
Zurückgelehnt in weichen Fernsehsesseln, machen Ahh
Und machen Ohh. Ein Farbencocktail explodiert
Wie im Gehirn unfaßbar Großes oder ein Container
Mit Infomaterial zum Thema Schwangerschaft und Gott.
Laserkanonen zaubern auf die Wölbungen der Kuppeln,
Der hohen Stirnen Himmelsbilder. Überschwemmt
Von leeren Emotionen ist der Mensch bei sich
Im Anblick dieser Sternennebel, Asteroidenstürme.
Hier wird im Zirkusstil das Unfaßbare inszeniert,
Aufstieg und Fall der kleinen Welt, in der wir schalten.

Milchstraßen schießen aus den schwer gepreßten
Brüsten gestresster Götterfrauen. Keiner weiß,
Wo Oben, Unten ist in diesem stroboskopdurchblitzten
Materie-Schaum. Dann hört man dies: Canopus,
Leitstern der Weltraumfähren, war die richtige Adresse.
Denn alles ist erklärbar, Leute. Laßt es in euch sinken,
Genießt das Hiersein in der einzig feuerfesten Zone.
Zum Glück vergessen haben wir, wie lange das so ging,
In Canyons, Grotten, unterm Kraterrand zu wohnen, ohne
Die Technik sich hinaufzuträumen durch Berechnung,
Hinaus ins All, das von barocken Arien untermalt,
Die Planetarien simulieren. Dies ist die Legende
Der einen Galaxie (von vielen), dreizehn Milliarden Jahre alt.



"Les hommes seront toujours fous; et ceux qui croient les guérir sont les plus fous de la bande." - Voltaire

Ulrich Elkmann Offline




Beiträge: 13.459

16.10.2023 16:03
#4 RE: Kenji Miyazawa, "Der Erdgott und der Fuchs" (1934) Antworten

Hah. Der "Engel der Bibliotheken" (Hannah Arendt) hat sich herausgefordert gefühlt & spielt mir, deux heures après, dies in die Finger:

William Firebrace, Star Theatre: The Story of the Planetarium, Reaktion Books, 2017.

Und da finde ich im Index:
- "Rebel Without a Cause", 117
- Ballard, J.G, "The Drowned World", 154-56
- Sherlock Holmes, 17
- Kraftwerk, 182
- Alice Munro, "The Moons of Jupiter", 127-29, 133
- Pink Floyd, "Dark Side of the Moon", 182
- "The Terminator", 119
- "The Truman Show", 19

Zitat
Early visitors to the planetarium were entranced, sometimes even imagining that somehow the dome had opened and that they were looking at the real sky. The star theatre of Walther Bauerfeld does two different things, ingeniously entwined so that the spectator does not distinguish between the two: first, it produces a simulation of the view one might see in the sky on a lcear night - effectively, an artificial imitation of nature. Second, it illutrtaes a theory of how the planets move around the sun, and how the solar system relates to the stars and the universe beyond. A view - how we might see the night sky - is shown together with a model - how the solar system, the stars and the universe are thought to function.

The two do not necessarily coincide. (S.13-14)
...
In 1993, the great Zeiss analogue dumbbell projector, which has survived in various forms since the 1920s, became a more modestly proportioned Mark VII, known as the Starball, a remarkable technical achievement that combined all its complex mechanical facilities into one roughly spherical case. Also in the 1993, the new Deutsches Museum planetarium in Munich began to feature a Starball projector, with eighty single-image projectors, six video beamers and lasers on robotic arms; button in the seats allowed visitors to control the show. The during the 1990s, shows at high-end planetariums such as those in New York, Berlin and Munich combined slide projectors, lasers, film and sound systems, all linked and controlled by computer (since the various projection devices were now too complicated for the lecturer to control manually), producing dazzling special effects: flight to distant regions of the galaxy, exploding stars, impressions of immense scale and so on. Sometimes these performances became little more than astro-discs with spectacular laser shows accompained by heavy metal music. For a few years the paths of stadium rock and astronomy ran in parallel in an updated version of the music of the spheres, supposed in medieval times to be played by the planets - Pink Floyd's 'The Dark Side of the Moon' (1973) was launched at the London Planetarium, while the band Kraftwerk performed concerts, playing their instrumental track "Kometenmelodie" against an illuminated background of planets. ... The rush to create digital productions has its drawbacks, however. Being able to project anytihntg one wishes does not necessarily mean that the projected image is therefore more interesting, and a certain bannality sets in. (182-83)





"Les hommes seront toujours fous; et ceux qui croient les guérir sont les plus fous de la bande." - Voltaire

Ulrich Elkmann Offline




Beiträge: 13.459

16.10.2023 16:56
#5 RE: Kenji Miyazawa, "Der Erdgott und der Fuchs" (1934) Antworten

Und Ballard, ebenfalls aus Firebrace:

Zitat
The London Planetarium's own potential as a location for a fictionalized cosmic disaster was spooted early by J. G. Ballard and brought out in this novel "The Drowned World" (), which appeared just four years after the building operned. The novel is set some time in the future, when the world has been flooded due to the icecaps and permaforst melting - a latter-day Velikovsian scenario based not on errant comets but on the overherating Sun. The climate has relapsed into a kind of Jurassic state, conducive to oversize lizards and insects. The few remaining human inhabitants live in the upperstoreys of luxury hotels and other tall buildings protruding above the swamp-like waters. The dome of the planetarium can be spotted several metres below the surface of the waters. The narrator, dr Robert Kerans, decdies to neter the building, and descends in a diving suit to street level. The building loooms up, covered with molluscs,, bivalves and the fronds of marine flora. Kerans finds all the pieces of the interior in palce - the ticket kiosk, the staircase to the auditorium, the manager's booth.

"The dark vault with its blurred walls cloaked with silt rose up above him like a huge velvet-upholstered womb in a surrealist nightmare. The black opaque water seemed to hnag in solid vertical curtains, screening the dais in the centre of the auditorium as if hiding the ultimate sanctum of its depths. For some reason the womb-like image of the chamber was reinforced rather than diminished by the crcular rows of seats, and Kerans heard the thuddding in his ears, uncertain whether he was listening to the dim subliminal requeim of his dreams ... the deep cradle of silt carried him gently like an immense placenta ... far above him, as he consciousness faded, he could see the ancient nebulae and galaxies shining through the uterine night, but eventually even their light was dimmed and he was only aware of the faint glimmer of identity within the depest recesses of his mind."

Ballard's description of the interior of the flooded planetarium is precise and clearly written from the memory of an actual visit or series of visits, and offers a good contrast to the descriptions quoted earlier. The planetarium scenes form the centrepiece of the boook, mixing many of Ballard's continuing concerns - urban decay, the subconscious, ecstaticx states gained through extreme experiences of the cosmos. The planetarium is not just a scvientific instrument; it is the place where one goes to experience a rhapsodic state before the wonders of the star systems, a state that pushes one back into a meory of pre-birth. The building is in Ballard's description both tomb, filled with dead objects, and womb, nurturing the next state of human existence. (154-56)



Ballards Roman ist sein Erstling, der sich wie die nächsten drei mit je einem der klassischen Elemente als Auslöser des Weltendes befaßt, bis hin zu "The Crystal World" (1966). Ballard selbst hat den Roman in späteren Jahren ziemlich verleugnet, als reine Brotarbeit, in zwei Wochen heruntergeschrieben, um seiner Familie einen Spanienurlaub zu ermöglichen, den er sich eigentlich nicht leisten konnte. (In der reinen Schreibzeit stimmt das übrigens mit Voltaires "Candide" überein, dessen erste Fassung lt. Tagebuch seines Sekretärs von 16. Juli bis zum 4. August 1757 entstanden ist, und Arno Schmidts "Kaff auch Mare Crisium," dessen Niederschrift sich Tag für Tag im Tagebuch von 16. November bis zum 18. Dezember 1959 ("9:18 morgens") verfolgen läßt.)

Wer übrigens den Verdacht hegt, hier könnte es sich um eine zerstreute Notizsammlung für eine weitere Pieroutte zum Thema "Sternkunde" handeln, liegt nicht ganz falsh.



"Les hommes seront toujours fous; et ceux qui croient les guérir sont les plus fous de la bande." - Voltaire

Ulrich Elkmann Offline




Beiträge: 13.459

16.10.2023 19:39
#6 RE: Kenji Miyazawa, "Der Erdgott und der Fuchs" (1934) Antworten

Noch zu Ballard. Ich zitiere mal die zentrale Passage aus Kapitel 9, "The Pool of Thanatos," vollständig.

Zitat
Like an immense submarine temple, the white bulk of the planetarium stood before him, illuminated by the vivid surface water. The steel barricades around the entrance had been dismantled by the previous divers, and the semi-circular arc of doors which led into the foyer was open. Kerans switched on his helmet lamp and walked through the entrance. He peered carefully among the pillars and alcoves, following the steps which led up into the mezzanine. The metal railings and chromium display panels had rusted, but the whole interior of the planetarium, sealed off by the barricades from the plant and animal life of the lagoons, seemed completely untouched, as clean and untarnished as on the day the last dykes had collapsed.

Passing the ticket booth, he propelled himself slowly along the mezzanine,and paused by the rail to read the signs over the cloakroom doors, their luminous letters reflecting the light. A circular corridor led around the auditorium, the lamp throwing a pale cone of light down the solid black water. In the faint hope that the dykes would be repaired, the management ofthe planetarium had sealed a second inner ring of barricades around the auditorium, locked into place by padlocked cross-bars which had now rusted into immovable bulkheads.

The top right-hand corner panel of the second bulkhead had been jimmied back to provide a small peephole into the auditorium. Too tired by the water pressing on his chest and abdomen to lift the heavy suit, Kerans contented himself with a glimpse of a few motes of light gleaming through the cracks in the dome.

...

He was in the control booth overlooking the auditorium, his image reflected in the glass sound-proof panel. In front of him was the cabinet which had once held the instrument console, but the unit had been removed, and the producer's swing-back seat faced out unobstructed like an insulated throne of some germ-obsessed potentate. Almost exhausted by the pressure of the water, Kerans sat down in the seat and looked out over the circular auditorium.

Dimly illuminated by the small helmet lamp, the dark vault with its blurred walls cloaked with silt rose up above him like a huge velvet-upholstered womb in a surrealist nightmare. The black opaque water seemed to hang in solid vertical curtains, screening the dais in the centre of the auditorium as if hiding the ultimate sanctum of its depths. For some reason the womb-like image of the chamber was reinforced rather than diminished by the circular rows of seats, and Kerans heard the thudding in his ears uncertain whether he was listening to the dim subliminal requiem of his dreams. He opened the small panel door which led down into the auditorium, disconnecting the telephone cable from his helmet so that he would be free of Strangman's voice.

A light coating of silt covered the carpeted steps of the aisle. In the centre of the dome the water was at least twenty degrees warmer than it had been in the control room, heated by some freak of convection, and it bathed his skin like hot balm. The projector had been removed from the dais, but the cracks in the dome sparkled with distant points of light, like the galactic profiles of some distant universe. He gazed up at this unfamiliar zodiac, watching it emerge before his eyes like the first vision of some pelagic Cortez emerging from the oceanic deeps to glimpse the immense Pacifics of the open sky.

Standing on the dais, he looked around at the blank rows of seats facing him, wondering what uterine rite to perform for the invisible audience that seemed to watch him. The air pressure inside his helmet had increased sharply, as the men on the deck lost contact with him by telephone. The valves boomed off the sides of the helmet, the silver bubbles darted and swerved away from him like frantic phantoms.

Gradually, as the minutes passed, the preservation of this distant zodiac,perhaps the very configuration of constellations that had encompassed the Earth during the Triassic Period, seemed to Kerans a task more important than any other facing him. He stepped down from the dais and began to return to the control room, dragging the air-line after him. As he reached the panel door he felt the line snake out through his hands, and with an impulse of anger seized a loop and anchored it around the handle of the door. He waited until the line tautened, then wound a second loop around the handle,providing himself with a radius of a dozen feet. He walked back down the steps and stopped half-way down the aisle, head held back, determined to engrave the image of the constellations on his retina. Already their patterns seemed more familiar than those of the classical constellations. In a vast,convulsive recession of the equinoxes, a billion sidereal days had reborn themselves, re-aligned the nebulae and island universes in their original perspectives.

A sharp spur of pain drove itself into his eustachian tube, forcing him to swallow. Abruptly he realised that the intake valve of the helmet supply was no longer working. A faint hiss seeped through every ten seconds, but the pressure had fallen steeply. Dizzying, he stumbled up the aisle and tried to free the air-line from the handle, certain now that Strangman had seized the opportunity to fabricate an accident. Breath exploding, he tripped over one of the steps, fell awkwardly across the seats with a gentle ballooning motion.

As the spotlight flared across the domed ceiling, illuminating the huge vacant womb for the last time, Kerans felt the warm blood-filled nausea of the chamber flood in upon him. He lay back, spreadeagled across the steps, his hand pressed numbly against the loop of line around the door handle, the soothing pressure of the water penetrating his suit so that the barriers between his own private blood-stream and that of the giant amnion seemed no longer to exist. The deep cradle of silt carried him gently like an immense placenta, infinitely softer than any bed he had ever known. Far above him, as his consciousness faded, he could see the ancient nebulae and galaxies shining through the uterine night, but eventually even their light was dimmed and he was only aware of the faint glimmer of identity within the deepest recesses of his mind. Quietly he began to move towards it, floating slowly towards the centre of the dome, knowing that this faint beacon was receding more rapidly than he could approach it. When it was no longer visible he pressed on through the darkness alone, like a blind fish in an endless forgotten sea,driven by an impulse whose identity be would never comprehend.

Epochs drifted. Giant waves, infinitely slow and enveloping, broke and fell across the sunless beaches of the time-sea, washing him helplessly in its shallows. He drifted from one pool to another, in the limbos of eternity, a thousand images of himself reflected in the inverted mirrors of the surface. Within his lungs an immense inland lake seemed to be bursting outwards, his rib-cage distended like a whale's to contain the oceanic volumes of water. (zit. nach der Ausgabe Orion/Gollancz, London 1999, S. 115-120)



"Les hommes seront toujours fous; et ceux qui croient les guérir sont les plus fous de la bande." - Voltaire

Ulrich Elkmann Offline




Beiträge: 13.459

17.10.2023 01:46
#7 RE: Kenji Miyazawa, "Der Erdgott und der Fuchs" (1934) Antworten

Noch zu "The Drowned World". John Baxter, "The Inner Man: The Life of J. G. Ballard" (2011):

Zitat
Broke as always, Jim wrote The Drowned World for quick sale as a novella. As soon as Carnell bought it for the limping Science Fiction Adventures, he got to work increasing it to novel length. "Jim always scaled up, never down," says Moorcock. By the time the magazine appeared in January 1962, he'd completed the full-length version. In rewriting, he added a new sub-plot and copious description, entwining us even more stiflingly in his psychic jungle. Kerans' suite at the Ritz, perfunctorily described in the magazine version, receives an injection of decór porn worthy of vanity Fair, detailing its furniture and fittings down to the ivory-handled squash rackets and hands-painted dressing gowns. He added a single new character, Lieutenant Hardman, but he's less an individual than a device; a lab rat on whom Bodkin can experiment.

The most significant addition is the eighteen-page episode called "The Pool of Thanatos." Strangman decides to explore the flooded planetarium and sends Kerans down in a diving suit to search for some notional treasure, but actually in an attempt to kill him. Despite having mocked the claims of Hubard and Campbell that, under the right conditions, one could remember the moment of birth, even of conception, Jim flirts with the idea that, to Kerans, the spherical, liquid-filled chamber, furred with algae and the waving fronds of marine plants, evokes memories of the womb. His description resonates with a similar passage in "The Kindness of Women" in which a miniature TV camera gives a woman a magnified view of the inside of her vagina, increased to the dimensions of a cathedral, its walls beaded by moisture. It also recalls the 1936 lecture given by Dalí at the New Burlington Galleries in London, which he insisted on delivering in a diving suit. The technician sent to explain the equipment to Dalí asked how far down he intended to go:

"To the subconscious!" exclaimed Dalí.

"We don't go that deep," said the helper dubiously.

Dalí almost suffocated, just as Kerans nearly dies when his air supply is cut off. (Kapitel 20, "Death by Water")



"Les hommes seront toujours fous; et ceux qui croient les guérir sont les plus fous de la bande." - Voltaire

Ulrich Elkmann Offline




Beiträge: 13.459

25.10.2023 14:34
#8 RE: Kenji Miyazawa, "Der Erdgott und der Fuchs" (1934) Antworten

Zufallsfund, ausgelöst durch das Stichwort "Planetarien," weil das erste Berliner Projektionsplanetarium am Zoo, im November 1926 eröffnet, im Zusammenhang mit Virginia Woolf auftaucht (in den Briefen, die Vita Sackville-West an sie gerichtet hat). Vitas Mann, Harold Nicolson, von 1928 bis 1929 Geschäftsträger (Chargé d'Affaires) an der englischen Botschaft in Berlin, schreibt am 15. März 1929 Folgendes an Vita aus Köln:

Zitat
"After writing to you yesterday I went to see the Oberbürgermeister. His name is Adenauer, and he is rather a remarkable figure in modern Germany. There are some who say that if Parliamentarism really breaks down in Berlin they will summon Adenauer to establish some form of fascismo. For the moment he rules Cologne with an iron hand." (Vita and Harold: The Letters of Vita Sackville-West and Harold Nicolson, Hg, Nigel Nicolson, Weidenfeld & Nicolson, 1992, S. 211)





Nicolson war nach seiner Rückkehr nach England im Dezember 1929 für einige Zeit mit der Organisation der Partei verbandelt, die Oswald Mosley in England auf die Füße stellen wollte - soviel to "establish some form of...". Zu seinen Leistungen in Berlin zählte u.a., daß er eine Rede von H. G. Wells vor dem Reichstag organisiert hat, in der dieser seine Pläne für den künftigen Weltfrieden ausbreitete: "The Common Sense of World Peace - An Address Delivered in the Reichstag at Berlin," gehalten am 15. April 1929. Der Text, den Wells vorgetragen hat, ist zuerst als kleines Pamphlet mit 8 Seiten Umfang als limitierte Ausgabe 1929 bei der Hogarth Press gedruckt worden: handgesetzt und auf Bütten in Handarbeit durch Virginia & Leonard Woolf: "Published by Leonard & Virginia Woolf at The Hogarth Press, 52 Tavistock Square, London, W.C.I". Die Welt ist klein.



PS.

Zitat
16 April 1929: The writer read from The Common Sense of World Peace, in which he warns of the dangers of ‘self-centred imperialism’

Berlin, Monday

A large audience that included members of the Diplomatic Corps and representatives of the German Foreign Office listened to Mr HG Wells’s address in the Reichstag this evening on The Common Sense of World Peace.’ The following is a summary of Mr Wells’s address:-

“For some time (said Mr Wells) my mind has been greatly concerned with the question of the peace of the world. Our wounded and tormented but by no means exhausted world is now struggling away from traditions of militant nationalism toward the great but still imperfectly apprehended possibilities of a world peace. What precisely is this peace for which all the world appears to be clamouring, and what are the inevitable conditions for bringing it about?

The desire for peace will no more give us peace by itself than the concentration of the mind upon hunger will nourish the body.

Secondly, I want to stress the fact that the new road to world peace is a complex and toilsome road with harsh and disagreeable corners and many living and sensitive, and possibly, resentful obstructions that may have to be removed.

One difficulty very fundamental and very formidable is being shirked and evaded in all this peace talk. This difficulty is the Sovereign independence of State. Until we tackle it instead of walking round and round it, we shall not make much further progress towards organised peace. We shall go on wasting our various emotions upon peace pacts, and our substance upon war preparation just as we are doing at the present moment.

Take the Kellogg Pact of last year, which is typical of these popular perambulations about our central difficulty. The Pact is the means by which the citizens of the United States have relieved their consciences in the matter of world affairs without the slightest interference with their ordinary way of carrying on in life. By this simple treaty, war, we are assured, has not been simply outlawed but abolished in the world.

How far this has been achieved can he measured by two very simple addition sums, one giving the war expenditure for 1928 for all nations concerned before the Pact, and the other the estimate for the equivalent, expenditure in 1929. That is the real index of the value of this network of peace pacts and agreements. The Kellogg Peace Pact was contrived by men whose conception of peace is entirely controlled by the idea of integral and unassailable sovereignty.”

On the other hand, continued Mr Wells, a Zollverein spreading out until by including the whole world, it passes out of existence, or a federation of world banking and monetary controls, or on consolidation of the control of world shipping and overland transport by a federal board would take the world halfway towards an everlasting-peace.

“The day a man with a ton of goods can travel from Cardiff to Vladivostok or from Moscow to San Francisco as he can now travel from San Francisco to New York, without a passport or a Customs examination, without seeing a battleship or a soldier in uniform, or a single warplane in the air – the chief structures of a world pact will exist. To get Europe out of the tariff pits in which it has buried itself, to induce all these inter-locking and entangled semi-parochial national Governments that divide us to-day – to induce them to give way to broader and saner controls means a vastly more complex effort than getting eminent statesmen to sign peace declarations they have not the slightest intention of observing. It means a propaganda and struggle such as the world has never before known.”

Mr Wells dwelt on the need of the new Kulturkampf, which must take place before current education can be replaced by the new education which he advocates. Nationalistic teaching must be scrapped. History as it has been taught in its nationalistic form must be washed out of the minds of men. In its place must be taught the history of social evolution, the story of the growth of the great human society of to-day and man’s steady conquest of power and freedom. Nationalism must be exorcised from the world.

The new Kulturkampf must come to a reckoning with all forms of religious profession and activity. “Christianity claims to be a uniting religion to all mankind, overriding all races and kingdoms, but in practice it is closely associated with an antiquated cosmogony, a limited and partial teaching of history, and a supple acquiescence in existing institutions and in existing Governments and dictatorships which is no doubt ascribable to its preoccupation with spiritual things.

The recent agreement between the Vatican and the intensely nationalistic dictatorship of Italy deepens one’s doubt whether Christian statecraft has now either the will or the capacity to help materially in the great task of world federation.”

In conclusion Mr WeIls said: “Meanwhile, for all our pacts and promises, the world moves plainly forward towards fresh wars. The obduracy and stupidity of the British and other Governments have gradually forced back Russia, in her isolation, upon the traditions of the old nationalistic imperialism that fell in 1917. Russia, through isolation, is becoming once more a land of self-centred imperialism, and a vast struggle in Asia between Russia and the West on the old exhausting fruitless lines is manifestly in preparation. Russia may still call it a struggle against western imperialism, but it becomes more and more plainly a struggle for the mental and physical ascendancy of Russia. Nothing effective is being done to avert that collision. It can begin in Asia, almost anywhere now, and involve the whole world needlessly, monstrously and fruitlessly.

China is a festering half continent of war possibilities, and from Italy throughout the re-nationalised fragments of the Austrian and Turkish empires and so to the Near East a score of promising war occasions are rapidly developing. A little sooner or a little later these latent wars will come. They will come of themselves. All we have to do is to go on doing what we are doing now – let these things drift, sign our declarations, enjoy our sentimental occasions, and presently the guns will go off by themselves.

The war censorships will stop any further talk and the drill-sergeant will kick us back into the drill-yard. There may be ten centuries of drill-yard before mankind, ending, perhaps, in the complete destruction of the drill-yard. That need not be; we may yet win in our war to end war. We must clear our minds of cant and delusion, and face the immense complexities and difficulties and labours of the task before us frankly and simply, as a good surgeon faces a difficult operation, or an engineer faces the wilderness. Ten years of faith-healing for the sickness of the world are enough. It is time that real work for world peace was begun.”



https://www.theguardian.com/books/2021/a...-reichstag-1929



"Les hommes seront toujours fous; et ceux qui croient les guérir sont les plus fous de la bande." - Voltaire

Ulrich Elkmann Offline




Beiträge: 13.459

25.10.2023 15:22
#9 RE: Kenji Miyazawa, "Der Erdgott und der Fuchs" (1934) Antworten

Ach nee.

Zitat
Nach dem Vortrag fand im kleinen Kreise ein Essen im Hotel Adlon statt, bei dem Professor Einstein den englischen Gast begrüßte. Herr Wells antwortete in kurzen Ausführungen. Unter den Anwesenden bemerkten wir u.a. den englischen Botschafter Sir Horace Rumbold, den preußischen Kultusminister Dr. Becker und den Anglisten der Universität, Dr. Dibelius. (Peter Prätorius, "Welt-Bundesstaat Utopia. Ein Vortrag des Dichters H.G.Wells im Reichstag," Deutscher Allgemeine Zeitung, 16. April 1929)



https://pm20.zbw.eu/mirador/?manifestId=...7/manifest.json

Die Welt IST klein.


PS II.
In der gleichen Sammlung ein Artikel vom 14. August 1938 aus der "Frankfurter Zeitung" über die Fatwa, die gegen H. G. Wells in Indien gegen sein Buch "History of the World" ausgesprochen worden ist, das in dem Jahr in einer Übersetzung in Hindi erschienen ist: "Alle Redner erklärten, daß Wells den Propheten Mohammed und den Koran beleidigt habe, und forderten ein amtliches Verbot des Werkes in Indien. Ein Exemplar des Buches wurde feierlich verbrannt."

https://pm20.zbw.eu/mirador/?manifestId=...7/manifest.json



"Les hommes seront toujours fous; et ceux qui croient les guérir sont les plus fous de la bande." - Voltaire

Ulrich Elkmann Offline




Beiträge: 13.459

30.10.2023 22:14
#10 RE: Kenji Miyazawa, "Der Erdgott und der Fuchs" (1934) Antworten

Zitat von Ulrich Elkmann im Beitrag #8
Zufallsfund, ausgelöst durch das Stichwort "Planetarien"


Wenn ich schon mal dabei bin: Sebastian Krämer, aus seinem Programm "Vergnügte Elegien" mit dem Metropolis Orchester Berlin in Neukölln im Oktober 2017: "Im Planetarium"

Erinnerst du dich noch ans Planetarium?
Wir war'n mal da als du noch kleiner warst und noch nicht soviel Netflix sahst.
Wir war'n mal ursprünglich zu dritt, doch Simon kam dann doch nicht mit.
Er so: "Ich hab' 'ne Brille, die kann Virtual Reality,
Die macht mir auch so'n Sternenzelt, und wenn mir ein Stern nicht gefällt,
Dann kann ich dem 'nen Schnauzbart malen - und ich soll sieben Euro zahlen?"
Im Planetarium, im Planetarium.

Von fern schien durch die Bäume weiß das große Spielzeug von Herrn Zeiss.
Erst Karten / kaufen, dann erst mal noch warten.
Dann ging's in den Saal.
Dort hat sich räkelnd der Projek-/ tor schon mal nach uns ausgestreckt
mit lauten kleinen Lämpchen dran, die war'n natürlich noch nicht an
Wie ein verwachsner Stumpf im Wind / so ragte er gespenstisch in
den hellen Himmel, grau und dicht, da brannte noch das Deckenlicht
im Planetarium, im Planetarium.

Wir setzten uns quer mitten rein, wir waren aber nicht allein.
'Ne Grundschulklasse saß mit drin, nebst aufgeregter Lehrerin.
"Frau Krupsch, ich müßte noch mal sehr, sehr dringend!" "Nee, jetzt jehts nich' mehr!"
Und wirklich: dunkel wars, man sah kurz nichts mehr
nur die Smartphones klar.
"Sophie, Atreju, Ladislaus - macht ihr jetz' wohl dett Dingen aus!"
Drauf die im Chor: "Warum?"
Im Planetarium.

Erst lief noch spacige Musik, vom Synthesizer und von Grieg
und dann: nun ja, der Mond erschien und schien schon seines Wegs zu ziehn
doch schoß dann näher wie bekloppt - zum Glück hat er noch abgestoppt -
Und dann hat wer die ganze Pracht mal so per Knopfdruck angemacht
Und rumgewirbelt - weißt du noch? - im Osten stiegen Bilder hoch
Was sonst schier ungeweglich steht, das hat sich um und um gedreht.
Und um, und um, und um, und um...
im Planetarium.

Nach einer Stunde warn' wir raus: da sah der Himmel anders aus
Ein Wetter wie am jüngsten Tag, mit Donner, Blitz und Hagelschlag.
Schnell in den Bus - wir hatten Glück. Ein letzter Blick auf jene dik-
ke Kuppel, die nun andre barg, und rings auf den Ernst Thälmann-Park.
Da traten grad zwei / Mitarbeiter raus in Sturm und Matschebrei
Denn rauchen, das wär dumm
im Planetarium.

Ich höre dich noch seufzen: "das war fast zu schön!"
Doch weißte was? Es gibt so Sterne auch in echt
Die Chancen stehen gar nicht schlecht
das wir heut noch die Venus sehn, die müßte im Südwesten stehn
hoch oben: Schwan und Hercules, vielleicht kreuzt auch die ISS,
nur eines sehn wir sicher nicht: so'n grün-weißes Notausgangslicht.
Das gibt's gemeinsam mit den Ur-/ gewalten unsres Kosmos nur
im Planetarium, im Planetarium.


https://www.youtube.com/watch?v=OZpTmVc_9mc



"Les hommes seront toujours fous; et ceux qui croient les guérir sont les plus fous de la bande." - Voltaire

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