Helen Fehervary
Biographic Data
| ID | 977100 |
|---|---|
| NAME | Helen Fehervary |
| GIVEN NAMES | Helen |
| FAMILY NAME | Fehervary |
| SIGNATURE | FEHERVARY H |
| VERIFIED | No |
| TOTAL WORKS | 23 |
| TOTAL CITATIONS | 6 |
| AUTHOR COUNT | 23 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1973 |
| LATEST PUBLICATION YEAR | 2017 |
| H-INDEX | 2 |
Anna Seghers's Response to the Holocaust
The essay, written by the co-translator of the three stories published in this issue, discusses the German author Anna Seghers as a writer, antifascist activist, and psychological observer. Born into a Jewish family and a lifelong member of the Communist Party, Seghers was forced into exile from Germany in 1933. Family members, including her mother and aunt, died in concentration camps. Seghers became one of the first of her generation to write a…
The End
The End Anna Seghers Translated by Helen Fehervary (bio) and Amy Kepple Strawser (bio) Volpert walked from the railway embankment down to the village. He wanted to buy or borrow a few good ropes. The machine parts he was transporting in a sidecar for the line repair had been jiggling and rattling on the route. They would be damaged if not fastened down. His mechanic Ernst Hänisch was waving to him from the next farmstead. He had already found the…
Carrying Out the Assigned Task: "Anna Seghers's "The Excursion of the Dead Girls
The essay explores Anna Seghers's "The Excursion of the Dead Girls." In the story, questions about the narrator, and about the identity and difference between the narrator and the author, strike at the heart not only of Anna Seghers's artistic self-understanding but also her worldview. The autobiographical moment in the story is objectified in the process of literary creation. The difficulty of speaking in the first person, however, results not f…
Post to the Promised Land
Post to the Promised Land Anna Seghers Translated by Helen Fehervary (bio) and Amy Kepple Strawser (bio) At the end of the last century, when nearly all the Jewish inhabitants of the Polish town L. were killed by Cossacks in a pogrom, the surviving members of the Grünbaum family fled to Vienna where their eldest daughter was married to a furrier. The other children having perished, the family now consisted of the son-in-law Nathan Levi, a grandch…
The Excursion of the Dead Girls
The Excursion of the Dead Girls Anna Seghers Translated by Helen Fehervary (bio) and Amy Kepple Strawser (bio) "No, from much farther away. From Europe." The man looked at me with a smile, as if I'd replied, "From the moon." He was the owner of the pulqueria at the edge of the village. He stepped back from the table, and as he leaned against the wall, began to study me as if searching for some sign of my bizarre past. Right then it seemed just as…
Anna Seghers: The Mythic Dimension
Anna Seghers: The Mythic Dimension
Fehervary Helen. Anna Seghers: The Dimension. Ann Arbor: The University of Michigan Press, 2001. 275 pp. $52.50 hardcover. Helen Fehervary's monograph substantially complicates future readings and interpretations of writings of Anna Seghers. That is not least of its merits. For while Seghers's work continues to be explored in lively Argonautenschiff (The Anna Seghers Yearbook) and elsewhere, a number of simplistic assumptions about her survive. F…
"Landscapes of an "Auftrag
The flood of citations of and accolades to Heiner MUiller have failed to mention the name of the one woman writer who had crucial influence on the language, style, imagery, political philosophy, and mythic topographies in the playwright's work Anna Seghers. Born in 1900, recipient of the Kleist Prize in 1928, exiled in 1933, and a leading figure among antifascist writers in the 1930s, the German-Jewish writer Anna Seghers became internationally r…
Ingeborg Bachmann: Her Part, Let It Survive
Ingeborg Bachmann was born in 1926 in the Austrian province of Carinthia, which borders on both Yugoslavia and Italy. By her own admission, she felt tied throughout her life to this geographically remote but historically rich borderland of language and culture; Germany always remained foreign to her. Her father, who like his forebears grew up on the family farm in the Gail Valley, became a teacher of language and stenography, and eventually schoo…
Wolf Biermann
Christa Wolf's Prose: A Landscape of Masks
From Hitler to Hepburn: A Discussion of Women's Film Production and Reception
Helen Fehervary, Claudia Lenssen, Judith Mayne, From Hitler to Hepburn: A Discussion of Women's Film Production and Reception, New German Critique, No. 24/25, Special Double Issue on New German Cinema (Autumn, 1981 - Winter, 1982), pp. 172-185
Introduction to Stefan Schutz
Theater, Manufacturing, and the Ship of Women: Interview with Stefan Schutz
Schuitz: I think the decisive factor was being powerless against a state, against people who have power. The only possibility to defend myself would be to express my rage in the theater, or to paint pictures, or to compose music. I happened to start to write. I think it was a strong reaction against the atrocities of institutions. It was a reaction that had a lot to do with my life up till then it still has to do with my life now. My love for the…
Jurgen Holtz: Self-Portrait of an East German Actor
Self-Experiment: Appendix to a Report
In many respects Christa Wolf's works may all be understood as experiments with the self, as attempts to explore the possibilities for self-growth within the development of socialism in the German Democratic Republic. Wolf has asserted the claims of individual fulfillment as a necessary aspect of socialism. Like other GDR writers, she views her works as performing a specific socialfunction within their society, both criticizing existing condition…
Thomas Brasch: A Storyteller after Kafka
Less than three weeks after the news of Wolf Biermann's expatriation by the GDR made international headlines in November, 1976, Thomas Brasch was granted an emigration visa and quietly moved his official residence from the center of the East German capital to West Berlin a distance of a little over a mile. With this an entirely new public identity was assumed by a writer who hitherto had been virtually unknown. The case of Thomas Brasch, among th…
Mauser
Enlightenment or Entanglement: History and Aesthetics in Bertolt Brecht and Heiner Muller
In third year of fascist hegemony in Germany and of his own exile from Germany, Bertolt Brecht formulated programmatically his thoughts on an anti-fascist art and politics to which he remained firmly committed throughout his exile years: great of our time is that our continent is giving way to barbarism because private ownership of means of production is being maintained by violence. Merely to recognize this is not sufficient, but should it not b…
Sozialistisches Drama nach Brecht. Drei Modelle: Peter Hacks, Heiner Muller, Hartmut Lange
Optimistic Tragedies: The Plays of Heiner Muller
The GDR playwright Heiner MUller has given the following account of his life and work: Born January 9, 1929, in Eppendorf in Saxony. Received the Abitur (due to suspension of school during and after the war, not until 1949); began work in various sectors: agriculture, industry, the press. Work for the since 1956. Everything else is of general interest only in the form it has taken and continues to take in these (56 Autoren, Photos, Karikaturen, F…
Erwin Piscator's Political Theatre: The Development of Modern German Drama
Don't Go by Numbers, Organize According to Interests! Current Questions of Organization
The following considerations, which I presented in October, 1972, at the central working conference of the Socialist Bureau (Sozialistisches Bfiro) make no claim to provide a thorough analysis of all the issues raised. This inconclusiveness stems from the problems inherent in the subject matter itself. A major deficiency is the lack of a political-economic analysis of the capitalist power structure, and it is in this context that the question of …
Don't Go by Numbers, Organize According to Interests! Current Questions of Organization
The following considerations, which I presented in October, 1972, at the central working conference of the Socialist Bureau (Sozialistisches Bfiro) make no claim to provide a thorough analysis of all the issues raised. This inconclusiveness stems from the problems inherent in the subject matter itself. A major deficiency is the lack of a political-economic analysis of the capitalist power structure, and it is in this context that the question of …
Enlightenment or Entanglement: History and Aesthetics in Bertolt Brecht and Heiner Muller
In third year of fascist hegemony in Germany and of his own exile from Germany, Bertolt Brecht formulated programmatically his thoughts on an anti-fascist art and politics to which he remained firmly committed throughout his exile years: great of our time is that our continent is giving way to barbarism because private ownership of means of production is being maintained by violence. Merely to recognize this is not sufficient, but should it not b…
Christa Wolf's Prose: A Landscape of Masks
Erwin Piscator's Political Theatre: The Development of Modern German Drama
Don't Go by Numbers, Organize According to Interests! Current Questions of Organization
The following considerations, which I presented in October, 1972, at the central working conference of the Socialist Bureau (Sozialistisches Bfiro) make no claim to provide a thorough analysis of all the issues raised. This inconclusiveness stems from the problems inherent in the subject matter itself. A major deficiency is the lack of a political-economic analysis of the capitalist power structure, and it is in this context that the question of …
Sozialistisches Drama nach Brecht. Drei Modelle: Peter Hacks, Heiner Muller, Hartmut Lange
Optimistic Tragedies: The Plays of Heiner Muller
The GDR playwright Heiner MUller has given the following account of his life and work: Born January 9, 1929, in Eppendorf in Saxony. Received the Abitur (due to suspension of school during and after the war, not until 1949); began work in various sectors: agriculture, industry, the press. Work for the since 1956. Everything else is of general interest only in the form it has taken and continues to take in these (56 Autoren, Photos, Karikaturen, F…
Mauser
Enlightenment or Entanglement: History and Aesthetics in Bertolt Brecht and Heiner Muller
In third year of fascist hegemony in Germany and of his own exile from Germany, Bertolt Brecht formulated programmatically his thoughts on an anti-fascist art and politics to which he remained firmly committed throughout his exile years: great of our time is that our continent is giving way to barbarism because private ownership of means of production is being maintained by violence. Merely to recognize this is not sufficient, but should it not b…
Thomas Brasch: A Storyteller after Kafka
Less than three weeks after the news of Wolf Biermann's expatriation by the GDR made international headlines in November, 1976, Thomas Brasch was granted an emigration visa and quietly moved his official residence from the center of the East German capital to West Berlin a distance of a little over a mile. With this an entirely new public identity was assumed by a writer who hitherto had been virtually unknown. The case of Thomas Brasch, among th…
Self-Experiment: Appendix to a Report
In many respects Christa Wolf's works may all be understood as experiments with the self, as attempts to explore the possibilities for self-growth within the development of socialism in the German Democratic Republic. Wolf has asserted the claims of individual fulfillment as a necessary aspect of socialism. Like other GDR writers, she views her works as performing a specific socialfunction within their society, both criticizing existing condition…
Jurgen Holtz: Self-Portrait of an East German Actor
From Hitler to Hepburn: A Discussion of Women's Film Production and Reception
Helen Fehervary, Claudia Lenssen, Judith Mayne, From Hitler to Hepburn: A Discussion of Women's Film Production and Reception, New German Critique, No. 24/25, Special Double Issue on New German Cinema (Autumn, 1981 - Winter, 1982), pp. 172-185
Introduction to Stefan Schutz
Theater, Manufacturing, and the Ship of Women: Interview with Stefan Schutz
Schuitz: I think the decisive factor was being powerless against a state, against people who have power. The only possibility to defend myself would be to express my rage in the theater, or to paint pictures, or to compose music. I happened to start to write. I think it was a strong reaction against the atrocities of institutions. It was a reaction that had a lot to do with my life up till then it still has to do with my life now. My love for the…
Christa Wolf's Prose: A Landscape of Masks
Wolf Biermann
Ingeborg Bachmann: Her Part, Let It Survive
Ingeborg Bachmann was born in 1926 in the Austrian province of Carinthia, which borders on both Yugoslavia and Italy. By her own admission, she felt tied throughout her life to this geographically remote but historically rich borderland of language and culture; Germany always remained foreign to her. Her father, who like his forebears grew up on the family farm in the Gail Valley, became a teacher of language and stenography, and eventually schoo…
"Landscapes of an "Auftrag
The flood of citations of and accolades to Heiner MUiller have failed to mention the name of the one woman writer who had crucial influence on the language, style, imagery, political philosophy, and mythic topographies in the playwright's work Anna Seghers. Born in 1900, recipient of the Kleist Prize in 1928, exiled in 1933, and a leading figure among antifascist writers in the 1930s, the German-Jewish writer Anna Seghers became internationally r…
Anna Seghers: The Mythic Dimension
Fehervary Helen. Anna Seghers: The Dimension. Ann Arbor: The University of Michigan Press, 2001. 275 pp. $52.50 hardcover. Helen Fehervary's monograph substantially complicates future readings and interpretations of writings of Anna Seghers. That is not least of its merits. For while Seghers's work continues to be explored in lively Argonautenschiff (The Anna Seghers Yearbook) and elsewhere, a number of simplistic assumptions about her survive. F…
Anna Seghers: The Mythic Dimension
Anna Seghers's Response to the Holocaust
The essay, written by the co-translator of the three stories published in this issue, discusses the German author Anna Seghers as a writer, antifascist activist, and psychological observer. Born into a Jewish family and a lifelong member of the Communist Party, Seghers was forced into exile from Germany in 1933. Family members, including her mother and aunt, died in concentration camps. Seghers became one of the first of her generation to write a…
The End
The End Anna Seghers Translated by Helen Fehervary (bio) and Amy Kepple Strawser (bio) Volpert walked from the railway embankment down to the village. He wanted to buy or borrow a few good ropes. The machine parts he was transporting in a sidecar for the line repair had been jiggling and rattling on the route. They would be damaged if not fastened down. His mechanic Ernst Hänisch was waving to him from the next farmstead. He had already found the…
Carrying Out the Assigned Task: "Anna Seghers's "The Excursion of the Dead Girls
The essay explores Anna Seghers's "The Excursion of the Dead Girls." In the story, questions about the narrator, and about the identity and difference between the narrator and the author, strike at the heart not only of Anna Seghers's artistic self-understanding but also her worldview. The autobiographical moment in the story is objectified in the process of literary creation. The difficulty of speaking in the first person, however, results not f…
Post to the Promised Land
Post to the Promised Land Anna Seghers Translated by Helen Fehervary (bio) and Amy Kepple Strawser (bio) At the end of the last century, when nearly all the Jewish inhabitants of the Polish town L. were killed by Cossacks in a pogrom, the surviving members of the Grünbaum family fled to Vienna where their eldest daughter was married to a furrier. The other children having perished, the family now consisted of the son-in-law Nathan Levi, a grandch…
The Excursion of the Dead Girls
The Excursion of the Dead Girls Anna Seghers Translated by Helen Fehervary (bio) and Amy Kepple Strawser (bio) "No, from much farther away. From Europe." The man looked at me with a smile, as if I'd replied, "From the moon." He was the owner of the pulqueria at the edge of the village. He stepped back from the table, and as he leaned against the wall, began to study me as if searching for some sign of my bizarre past. Right then it seemed just as…
Art (17 works) · Philosophy (12 works) · History (10 works) · German History and Society (9 works) · Literature (8 works) · Art history (6 works) · German Literature and Culture Studies (6 works) · Literature and Cultural Memory (6 works) · European history and politics (5 works) · Law (5 works)