4. Dez. Aug. SCHWEINFURT. Die Faszination der Fratze. Vom Krieg gezeichnet: Professor Alexander Kübler (links) und Professor Rainer. Sept. Fratze gezeichnet, in der das liebe kleine Haus aussieht wie ein gieriges, weitgeöffnetes Maul. Haben Sie jemals ein furchtbareres Gemälde. Nov. Erkunde Ute Schillings Pinnwand „Fratzen zeichnen“ auf Pinterest. Doodle Blumen Clipart und Vektoren - Hand gezeichneten Blüten und.
Fratzen Gezeichnet VideoLet´s play Borderlands #1 NO SKILL Vielleicht sollte ich öfter mal wechseln. Eine Ausgabe, die ab fünf Jahren empfohlen wird, aber sich wohl in erster Linie an bibliophile erwachsene Leser richtet. CSU verliert absolute Mehrheit. Aber Monster sind ja generell nicht real… es ist also alles erlaubt! Die Tünche hatte die Werke gut konserviert. Thursday, May 3, bulky. Aber Monster sind ja generell nicht real… es ist also alles erlaubt! Carlotta awakens, Salvago rushes to her side, but with her dying sign up bonus casinos she calls for Zenmate funktioniert nicht. Thursday, March 29, from the shelf - 3. Die Sprache der Märchen ist zwar modernisiert, aber die einzelnen Geschichten sind nicht gekürzt. Productions — The Stigmatized ". Usually I am free slots fun so keen on drawing from photos as I prefer the real life challenge, but recently I enjoyed doing these ones, mostly related to artists I follow on Instagram. Friday, May 25, from photos. Mehr aus aller Welt.
Heidi learns that the world is static and directed by God. Although she is disturbed that her grandfather and relatives are poor and must struggle merely to subsist, the grandmother in Frankfurt brings her to believe that God wants it that way and that material poverty is insignificant when one considers the real meaning of richness: While the simple, pious community of the Swiss village is contrasted with the false, brutal life in the city, Spyri does nothing to explain the real contradictions between city and country.
The hard life in the Swiss mountains becomes idyllic. There the people are pure and closer to God. The world of Switzerland caters to the escapist tendencies of readers who might seek release from the perplexing, difficult conditions of urban life.
Heidi, too, is a figure of the infantile, regressive fantasy which desires a lost innocence that never was. Since natural equals Christian in this book, there is no way in which children can comprehend what really is a natural or socially conditioned drive.
In both instances, the classical stature of the books is closely linked to their commodity value. The three are Basis, Weismann, and Rowohlt.
Basis Verlag, like Oberbaum and Das rote Kinderbuch, 11 developed from a collective which worked in daycare and youth centers during the late s and has continued this work, largely in Berlin.
The members of Basis are socialists, who see their task as preparing the base for a new socialist society. Their main emphasis is on the production of books for children between the ages of four and twelve, although they have also produced a comic book and photographic story for apprentices who work in factories.
The Basis books for children were developed at a time when the anti-authoritarian phase of the New Left was coming to an end in West Germany—that is, the phase when arbitrary authority was defied for the sake of defying authority.
Though there are some anti-authoritarian elements in Basis books, their main goal is to demonstrate how working collectively can lead to a greater sense of oneself and the world and to the resolution of problems confronting children in their everyday lives.
Six of the works written between and will give an example of the aims and production methods of the Basis Verlag: Then we called up our friends and asked them if they would like to dress up and play a knight, poet, king, or bear.
And when they all said yes, then we acted out the entire story, and Ute photographed us. Dieter and Reiner printed the pictures and the story, and in the end, the bookbinders made the book into a real book.
Both think up traditional stories: The two stories come together as the bear meets the knight in the woods. They decide to go play with the children in the local neighborhood set in the present instead of fishing and fighting.
The poets become angry that their heroes have abandoned their traditional roles and story-lines and go searching for them. They come across some knights who, sent by the king to fight against the peasants, have been soundly defeated.
The poets complain that this normally does not happen in stories, but the knights argue that something is wrong with the usual stories since the peasants had never harmed them—that is, until the king had sent them to destroy the peasants.
They all decide to turn against the king, and with the help of the bear, the loyal knight, and the children, they capture the king, stuff him, and set him up as a monument in a park as a warning to all monarchs.
The country then belongs to everyone and is renamed country of the knights, peasants, poets, bears, and children. Here the traditional manner of telling fairy tales which glorify feudalism is criticized in a novel way.
The subtle use of photographs and comics adds to the Brechtian estrangement effect, which prompts children to think critically and creatively throughout the story.
The main difficulty with the narrative is that the social message and aesthetic innovations are perhaps too complex for a child to understand alone.
This story uses only photographs and combines elements from well-known folktales to illustrate housing problems in the city.
Four young people all in their twenties decide to live together: Schlienz, who can smell extraordinarily well; Minzl, who can hear long distances; Gorch, who can run faster than cars; and Atta, who is tremendously strong.
They rent an apartment, and the landlord tries to cheat them. However, they are too smart for him, and ultimately they set up a collective household which runs smoothly until the landlord raises the rent arbitrarily.
The four decide to organize the tenants in the entire building to fight and protest the hike in rent, and they use their extraordinary talents to unite the tenants and take over the building.
However, since the people come from different classes a teacher, bank clerk, metal worker, insurance inspector, and railroad worker and have different interests, the landlord is able to play upon the divisiveness in the coalition and, with the help of the police, defeat the strike.
Schlienz, Minzl, Gorch, and Atta are arrested. Nevertheless, while in prison, they reconsider their strategy and make plans so that they can be successful the next time they try to organize the tenants.
The book closes with a series of newspaper articles about landlords cheating tenants. The photographs in this story combine humor with accurate depictions of housing conditions.
The remarkable talents of the heroes are not so fantastic that they might lead children to have unreal expectations of their own powers. The fact that the four heroes two men and two women do not succeed shows to what extent the authors clearly understand the stage of the social struggle within the cities.
Here the emphasis is not so much on gaining a victory but on creating a sense of need for collective action. When she goes on a quest to find out the answers, information about salaries, work conditions, rents, and social classes is conveyed to her and, of course, to the readers.
This information is incorporated into the story through questions, comics, photographs, and charts. After numerous adventures, Renate and two friends come across two young factory workers who spend time with them to clarify everything and who explain that the social contradictions can only be overcome by workers who learn to trust one another and cooperate to take over the means of production.
Only through this type of action will the social disparities that confront Renate during the day be eliminated. Krach auf Kohls Spielplatz is for three-year-olds.
Andrea is troubled by Theo Kohl, who controls the playground because his father is rich and owns the construction company which employs most of the parents living in the housing settlement and neighborhood.
Theo manages to bribe Joachim, the strongest boy, with candy to act as "law enforcer"—that is, until Andrea and the other children get together and unite to defeat Theo and Joachim and set up mutually beneficial rules of play.
Though the book is instructive in pointing out the link between a bully and the possession of money, the language and pictures of the story are so devoid of imagination that the message will have only a minimal effect upon young readers.
This is not the case with Krokodil , written for and by five-year-olds. When the article was read to children in a preschool class and then discussed, the children reacted positively to the manner in which the African children united to protect their friend from the crocodile at the risk of their own lives.
At one point the teacher introduced the idea of doing a picture book about this story together. The children were skeptical since they knew nothing about book production, but the teacher explained how books were put together and encouraged the children so that they realized it was possible to make their own book.
After the children drew pictures and helped compose a text, they selected which pictures were to appear as illustrations.
Yet, they are not happy because all the profits go to the robbers, who use their weapons to intimidate the villagers.
Finally, the children, who are also forced to labor in a manner which they dislike, devise a plan to capture the robbers. The remarkable feature of this story is that it explains the aspects of robbery stemming from capitalist production in a concrete, humorous manner without becoming heavily theoretical.
The clear descriptions and explicit language of the narrative enhance the emancipatory value of this story, which is geared toward enabling young readers to understand the work process as a form of liberation.
Generally speaking, Basis books are directly related to the actual class struggles in West Germany. The major figures are from the working class, and the contents of the stories are, broadly speaking, of utmost concern to the underprivileged in society and lead to developing class consciousness.
Some of the stories tend to be too didactic as if the significance of the message itself were enough to strike the imagination of children. Obviously, this is a failing which Basis of late has been attempting to rectify.
For the most part, the language of the books is vigorous and blunt; colloquialisms and curses are used because children are accustomed to hearing them in their surroundings—used to explain their surroundings.
The authors do not talk down to the children. They employ a great deal of irony in the depictions, and the techniques of photography, comics, and montage dialectically enhance the communicability of the theory.
At the same time, the books also transcend the category of "children" or "childish," for adults can learn and enjoy in producing and reading them. The books of Weismann Verlag 15 also point in this direction.
A socialist collective which is not as active as the Basis Verlag in day-care and youth centers, the Weismann group has published over ten books, mainly by teenagers.
The Weismann books are not as directly concerned with immediate German social problems. One book, Herr Bertolt Brecht sagt Mr.
Bertolt Brecht Says, , is a collection of anecdotes, stories, and poems by Brecht. Eltern Spielen, Kinder Lernen Parents Play, Children Learn, by Wolfram Frommlet, Hans Mayhofer, and Wolfgang Zacharias is a handbook mainly for adults about how to start community groups which want to create better play conditions for children.
In general, the Weismann Verlag is more concerned with explaining social issues to teenagers and explicating socialist theories.
The following three books are most typical of their general policy: Consequently, Poppie is neglected and flounders.
She decides that the only way to survive in a capitalist society is by selling oneself. So, she becomes a prostitute. At one point she meets a radical who takes a sincere interest in her and promises to explain to her what enlightenment means and why she is a victim of capitalism.
Rauter is even more theoretical in his book. His major thesis is that individuals are made in schools, that is, through education which consists of the home, movies, television, theater, radio, newspapers, books, and posters.
Using concrete examples, Rauter explains how the media and schools produce conformists and nonthinkers. With each point he makes, he draws closer to his conclusion that we all must turn the education process around so that we can control our lives and prevent further production of passive, perverse human beings.
Wallraff is a type of Ralph Nader , with the exception that Wallraff has dealt with exposing the sordid conditions in factories and business firms by working in them.
Over the past seven years often with the help of pseudonyms and disguises he has held jobs in different plants and firms throughout West Germany and has revealed the exploitative methods of capitalists.
His book is a report about his activities which begins with a description in diary form of how he was maltreated by the army as a conscientious objector and how he then worked at different factories, wrote for newspapers, and was subjected to harassment by big industry and the government.
All three of these Weismann books are noteworthy for the respect they pay teenagers. Words are not minced. These books are written in a clear, intelligible language which makes the theory and connections drawn to the social realities comprehensible for young readers.
Sparse illustrations, generally photographic montages, are used effectively to reveal existing contradictions in society.
All Weismann books lay great emphasis on authenticity and documentation. Many are limited in their appeal to a young progressive intelligentsia because of their abstract quality, but their socialist perspective and edifying aspect provide a basis within the material itself for readers of all social classes to understand the theoretical arguments.
In this sense, the difficulty presented by the Weismann publications lies not so much in the books themselves as in the educational system which restricts the use of such books in the classroom.
Most notably, Rowohlt Verlag, one of the largest and best houses in West Germany, has started a series called Rotfuchs Red Fox under the general editorship of Uwe Wandrey.
The series began in April , and well over sixty inexpensive paperbacks with superb artwork and photography have been published since then. Most of the authors are already well known in West Germany.
The general policy of Rotfuchs is one of cultural pluralism. That is, the series contains books which range in their critique of society from mildly reformist to socialist.
The age groups addressed are anywhere from five to fourteen. Some of the books are limited in their appeal to a distinct age group, whereas others cut across age and social class differences.
Here are brief summaries of seven books which will convey an impression of the spectrum of this series. With amusing, unusual illustrations of elephants competing against one another, Hopf brings out in her narrative how sports can be fun.
Here a young man invents a table cloth and a magic stick which are expropriated by a factory owner in order to intimidate the workers and hold them in his power.
In the end, they take charge of the factory and their own lives. Here, too, the illustrations are pertinent, subtle, and comical.
After he mistakenly paints XY on people whom he suspects to be criminal, the young boy is severely punished by his parents. Consequently, he decides to run away, and he comes across a mysterious stranger in the woods who helps and comforts him.
The stranger turns out to be the wanted thief, with whom the boy decides to live until both are captured by the police. Here the illustrations are stark and photogenic.
There is no preaching, but the boy learns that there is another side to criminality than that which he views on television.
He has a quarrel with her, and she disappears. Helmut goes looking for her and winds up by exploring the entire city, which becomes his playground.
After several hours of seeing different aspects of city life, Helmut returns home only to find that his sister had been hiding in the cellar.
Both promise not to upset their parents by telling what happened during the day. The story is filled with photos of Helmut in the city that depict social and work conditions.
Helmut is pictured neither as cute nor heroic, but rather curious and alert. He responds to an emergency situation with remarkable calm and understanding.
In this sense the journey is beneficial because Herbert and the young reader as well realizes that time cannot be allowed to control his life.
Here a young girl gives a candid account of her life and views of family, sex, society, the role of women, and her possibilities for a career.
The advantage of the left-liberal policy of the Rotfuchs series is also its disadvantage. The Rotfuchs books speak to many different audiences and propose various alternatives to the existing social system.
Some indicate revolution, some reform. Some see change coming about by developing the creative and cognitive faculties of children while others seek to raise class consciousness.
The mode of portrayal ranges from the parable, fable, and surreal to the realistic and documentary. The language is generally high German, although slang is used.
All classes of children are lumped together, and no overall didactic goal can be ascertained, except to say that the series wants to teach critical thinking.
This is its disadvantage since many of the books in the series contradict one another and are at odds in their fundamental educational goals.
Without a clear-cut policy, the books will be consumed indiscriminately by children who will learn to tolerate different views but not really learn how to think critically in a social context and historical manner.
The socialist books have been especially influential in several ways. They use plain, everyday language which corresponds to that most familiar to both children and adults.
It is intelligible and clear but not childish and simplistic, and it serves to enhance the learning ability of the readers, not to compensate for inadequate education.
Story-lines address themselves to actual problems in present-day Germany. Boys and girls are treated as equals, and traditional role-playing is brought into question.
The heroes and the heroines are the collective. Emphasis is placed on struggle and solidarity. The perspective of the story is a general socialist one.
The resolution of problems is not made easy, for there is no happy end. Photographs and comics are used in unique ways to convey a clear picture of social conditions and contradictions.
The art work is subtle and fosters original thinking and appreciation. Socialist theory helps clarify the social disparities encountered by children in concrete situations.
The production of the books is geared to the reception by children. An earnest attempt is made by the producers either to involve children in the production process or to write books which pertain to the interests of children and stimulate class consciousness and solidarity.
As Dieter Richter has noted, 19 the books serve to bring together adults and children and to promote a common critical and creative activity.
But will it survive? This dilemma can only be solved as more contact with educational institutions and the working classes is established.
The reason for this, as Oskar Negt and Alexander Kluge have remarked, is that:. It does not allow itself to be organized in small groups.
When children attempt to organize for themselves and herein regulate their lives, it cannot be their intention to pay for their freedom of space by completely withdrawing from reality and withdrawing from the adult world, which is the prime link to the source of all objects together and to the children.
Therefore, the public sphere of children cannot be brought about without a material public sphere which connects the parents, and without public spheres of children at all levels and in all classes of society which are able to be brought into contact with one another….
Self-organization and self-regulation of children will be just as vehemently disputed by all kinds of authoritarian interests as is the self-organization of the proletariat.
Whoever thinks that the public sphere of children is a grotesque idea will have difficulty conceiving what the public sphere of the proletariat really is.
Negt and Kluge argue that the public sphere has historically become dominated and institutionalized mainly by the bourgeoisie, and there is no sector of public education, communication, assembly, production, or distribution which does not serve the interests of this ruling class.
For society to become truly free, democratic, and socialist, they assert that a proletarian public sphere must be created so that people will become aware of their own genuine material needs and desires and the ways to fulfill these needs and desires.
This means an intrusion into the bourgeois public sphere. Concomitantly there is a problem of co-optation, whereby the bourgeois public sphere appropriates the new forms developed in behalf of children and the proletariat.
To be more precise, most of the books produced by Basis and Weismann are handled by radical bookstores or are sold through the mail.
In this respect, its ultimate worth will depend on how we in the West not only in West Germany value the future we glimpse in the eyes of our children.
See my article, "Educating, Miseducating, and Re-educating Children: There has been such a prodigious output of noteworthy studies that it would take a small pamphlet to list them all.
Some of the more important ones are: Johannes Beck et al. For the most recent criticism by the New Left, see the special issues of Kursbuch , vol.
Dieter Richter and Jochen Vogt Reinbek, Klaus Doderer Weinheim, , pp. It is more than a simple parody in that it incorporates emancipatory features into a critique of authoritarian behavior.
Karl Ernst Maier Bad Heilbrunn, , pp. The title of the comic book is Lehrlingsfront 1 , and the photographic story, Liebe Mutter, mir geht es gut.
Weismann has recently joined with Raith Verlag of Munich, a progressive firm which has concentrated on publishing books dealing with psychology and education.
Gmelin and Monika Sperr. The picture book has proved to be a fruitful field of study for inquiries into the narrative potential of the fixed image.
It has generated a rather sophisticated body of theory over the last 20 years or so, which leaves the conventional view of the picture book as a basically verbal artifact supported by pictures far behind.
Contemporary studies of the picture book approach its pictorial dimension as an independent semiotic system in its own right, which does not necessarily concur with the verbal component, rather than as a mere prop to the verbal story.
Both words and images make their own relatively autonomous contribution to the overall semantic, aesthetic and emotional effect of the picture book.
Therefore, it has often been observed that the picture book is closer to other mixed narrative forms such as drama or film than to verbal fiction.
Given the general consensus on the substantial weight of both pictorial and verbal narrative codes in the picture book, it is only logical that many studies attempt to give an overview of the different types of interaction between words and images in this surprisingly complex art form.
According to Perry Nodelman, words and pictures can never simply repeat or parallel each other, because of the inherent differences between verbal and visual modes of communication.
They can, however, visually demonstrate attitudes, while words are incapable of directly expressing emotion through shape and color.
Because visual and verbal modes of communication are subject to diverging sets of constraints, the images in a picture book can never simply illustrate the words, but will necessarily offer different types of information to the reader: Thus, Maria Nikolajeva and Carole Scott have come up with the categories of symmetrical, enhancing, complementary, counterpointing and contradictory interaction.
In symmetrical interaction, words and pictures basically repeat each other. In the case of counterpointing interaction, words and images generate meanings "beyond the scope of either one alone" p.
Thus, the book provides us with the opportunity to study the word-image dynamic in embryo. It originated as a Christmas gift for his 4-year-old son Carl in Hoffmann, who practised medicine in Frankfurt, wanted to buy his son a book, but he could not find anything to his liking in the Frankfurt bookstores.
Books for young children were too moralistic and didactic, in his view, and he was displeased with their illustrations. These, he felt, were too smooth, too realistic, too unimaginative to interest young children.
And so he set about creating a picture book of his own, which did not only turn him into one of the first, but also one of the most successful creators of a "pictorialized" 8 narrative in the history of German literature.
Der Struwwelpeter was not only a bestseller, but also a spectacular longseller. It has gone through some editions and is still in print today.
Certainly, this fact in itself is enough to make anyone wonder what the secret could be of the enduring appeal of this picture book.
However, I do not want to use Der Struwwelpeter merely as an accessory to the semiotics of word-image combinations. Some have it that Der Struwwelpeter advocates the harsh and cruel subjection of naughty children, others argue on the contrary that he ridicules adult authority.
Siding with the latter party, I hope to point out that contemporary insights into visual narrativity may help to shed new light on this issue.
The visual prologue offers important clues to the interpretation of what is to follow. The page lay-out of the frontispiece has been composed out of three symmetrical sections.
The top section displays an angelic creature with wings and a crown who holds out a picture book and is sided by two illuminated Christmas trees.
The bottom section contains a picture of a boy who is eating his soup at the dinner table. Judging from their clothes and their size, these three boys are one and the same person.
Where the left-right division of the page is concerned, we may observe that the angel is positioned in the middle of the top section. This position is mirrored by the boy in the bottom section.
The ethereal nature of the angelic creature is emphasized by the fact that its feet are hidden from view.
It is not grounded in any sort of way, it simply floats, in contrast to the picture of the boy at the dinner table, which conspicuously displays the legs of both table and chair, firmly putting the boy on the ground.
Thus, the frontispiece turns heaven and earth into contiguous domains. In other words, there is a certain give-and-take between heaven and earth. These connotations will prove to be important to the interpretation of the picture book as a whole, as I shall point out later on.
Turning the page, we are confronted with the title story. It features the icon of a boy on an ornamental pedestal sporting exceedingly long hair and fingernails.
The pedestal is decorated by a comb and a scissors, which flank the inscription of the accompanying text as ornamental trophies. The words of the title story are uttered by the same "voice of authority" who produced the lines on the frontispiece, namely an external narrator who does not figure as a character in the scenes presented to us.
The messages uttered on the frontispiece and the title story are complementary to each other. In the first case, juvenile readers are lured into identification with the obedient children in the pictures through the promise of a gift, while they are discouraged from identifying themselves with the filthy boy in the title story through the threat of physical discomfort.
Shock-headed Peter is offered up to the juvenile reader as an object of ridicule and disgust. The public is supposed to scoff at him, in unison with the external narrator.
The title story exhorts the audience to bond with the voice of authority at the expense of the young protagonist of the story, who is put in the pillory as a target of disidentification.
The word-image dynamic in the title story is theatrical rather than dramatic in the strict sense of the word. The verbal story represents the events from the point of view of the child hero, but in the pictures the main characters tend to figure as the object rather than the subject of focalization, that is, the picture represents the child, rather than the field of vision of the main character.
In the case of Der Struwwelpeter , both words and pictures are external. Shock-headed Peter does not get to speak a single line, nor do the other children in the stories that are to follow, but for the one exception of "Suppen-Kaspar".
Just like the frontispiece, this already gives us a foretaste of the tight fit between the words and the pictures of Der Struwwelpeter.
The pictures act out the words quite literally and vice versa. The juvenile reader is invited to cast a scornful glance upon this depraved child and therefore the accompanying picture puts him up for exposure.
The frontispiece and the title story together set the stage for what is to follow. They suggest that we will be presented with a collection of cautionary tales which instill notions of appropriate behaviour into the audience by confronting readers with the consequences of certain deeds.
These consequences function as so many rewards or punishments mostly the latter. At first glance, the subsequent stories seem to meet these expectations.
If we want to subsume the misdeeds in the Struwwelpeter stories under a common denominator, one could say that the various child protagonists are all guilty of being unable to control their spontaneous bodily impulses.
As soon as they begin to move about while giving in to this or that urgent inclination, they are in for trouble.
In other words, they all fail to conform to the quiet and subdued types of behaviour displayed by the frontispiece. In general, there hardly seems to be any need for human intention or intervention here.
Evil punishes itself in Der Struwwelpeter through merciless cause-and-effect chains that are forged by ineradicable natural laws.
Words and pictures closely cooperate to evoke the appearance of objectivity and inevitability in the Struwwelpeter stories. The pictures indeed obey rigid codes in certain respects.
The critical moment at which a child decides to ignore an interdiction is always clearly indicated by visual signs. Except for "Suppen-Kaspar", the child protagonists are drawn en face as long as they stay in their proper place.
They are drawn en profil as soon as they decide to follow their own impulses, which is always a sure sign that their lives will be at stake within a few moments.
Furthermore, the pictures tend to represent the consequences of the deeds that are reported in the verbal text In other words, the pictures usually depict phenomena that succeed the events recorded by the words.
If we are told that "Suppen-Kaspar" literally starves himself to death, the final picture does not show his corpse, but his tombstone.
A rather humorless word-picture dynamic, or so it seems! At this point, one may well wonder how the epithets "lustig" and "drollig" apply to the Struwwelpeter stories.
What could possibly be so funny about all this? It is time for a second look. If we subject the visual narrativity of Der Struwwelpeter to a closer analysis, we may chance upon a whole array of features that complicate the comments given in the above.
Let us return to the title story for a moment. I have suggested that the child protagonist is presented to the juvenile reading audience as a target of scorn.
However, the style in which Shock-headed Peter has been drawn invites us to reconsider this interpretation. Like all the other characters in Der Struwwelpeter , he has been drawn in an emphatically clumsy manner.
This is how children draw puppets: Although Hoffmann earned his living as a doctor and dabbled in the composition of picture books, this does not mean that he could not do any better than that.
The pictures are likely to give child readers the idea that they could easily achieve something like that as well, a first step towards overcoming dislike.
Furthermore, although the verbal text indeed emphatically pillories this filthy child, the fact of the matter is that the picture which literally incorporates the text has not really put him in a pillory but on a monumental, decorated pedestal, which is a sign of honor rather than humiliation.
Lastly, Shock-headed Peter does not betray even the faintest trace of shame or regret. He neither cowers nor casts down his eyes.
On the contrary, he stares back at the spectator in defiance. True enough, words and pictures concur very closely indeed in Der Struwwelpeter , apparently leaving hardly any room for the ironical freedom of interpretation that picture books are appreciated for nowadays.
But as a matter of fact, their fit is a little too close for comfort, and this is exactly the point at which irony comes into play.
This hyperbolic image evokes bathos rather than pathos. Moreover, it casts doubt upon the preceding sequence of events.
If the cats are apparently able to call forth this much water, why did they not do so before in order to quench the flames consuming poor Harriet?
Once doubt begins to creep in, we may notice another tell-tale detail in the final picture, namely the purple ribbons in the tails of the cats.
Johann Koehn - - jetzt Witwe Koehn Michael Utzing - 1 53 - Michael Dohrau - 3 jetzt Johann Dorau Wittwe Bahlau - 2 - Schul und Kirchhofsland - - - pages.
Table of present and future taxes for Gr. Heinrich Wohlgemuth,jetzt Jacob Goertz jun. M ,hat anno die Witwe des Menn. Martin Boltz M ,ist schon zu polnischer Zeit im Besitz gewesen.
Michael Schmidt, vorhin Peter Fick L. Isaac Adrian M ,erkauft von dem Menn. Peter Dirks M ,in eingeheiratet. Stephan Baltzer M ,ist schon zu polnischeer Zeit im Besitz gewesen.
Johann Rahn L Abraham Goertz M ,in von Isaac Adrian erkauft. Peter Franz M ,besitzt diesen Hof aus polnischer Zeit her.
Heinrich Goertz erkauft Johann Wigang L Groenke C , aus dem Hofe Nr. David Roeder L ,desgl. Christian Behrend L ,ad Hof Nr. David Loefke L , ad Nr.
Michael Dorau L , ad Nr. Johann Preuss Witwe L , ad Nr. Johann Kuhn L , ad Nr. Peter Hiske L , ad Nr. Peter Franz gekauft und ist immer im Besitz der Mennoniten gewesen.
Christian Behrend der sub Nr. Cammer Consens vom 5 Febr. The court language in olden as well as in modern times is not always intelligble.
The handwriting is not always easily readable and is a challenge and good study material for history seminars. Here are some expressions and abbreviations which I found in the documents: Akt Sadu Obwodowego w Nowem Seite: Lubin, 2 Copia A: Nachlass der verstorbenen Maria Goertz geb.
Lubin, 13 Copia C: Erbteilung des Peter Goertz, Gr. Nachlass der vertorbenen Anna Boltz geb. Balzer, Copia F.: Nachlass der verstorbenen Maria Schroeder geb.
Siebrandt 35 Table of Contents: Akt Sadu Obwodowego w Nowem Page: Estate of deceased Maria Goertz geb. Estate partition of Peter Goertz, Gr. Lubin, Birth days of Peter Goertz children, Gr.
Estate of deceased Anna Boltz geb. Balzer, Copia F: Estate of deceased Maria Schroeder geb. Actum Gross Lubin den Von dem Besizzer und dessen titulo possesesionis.
Unrau durch die Geschworenen Grodt und Krzewiszinsky unterm Von den Schulden, real Verbindlichkeiten und Lasten April anno in der Ehrb.
Claus Frantzen seine Behausung in Beisein der Ehrb. Klaus Frantz Mittnachbaar alhie auf Gr. Lubin an einem Theil und dem Ehrb.
Es verkauft der Ehrb. Claus Frantz dem obbemeldeten Peter Goertzen seinen in Gr. Martin dieses sten Jahres fl und auf May wen wir schreiben werden fl und den Rest als fl auf S.
Lubin im Jahr und Tag wie oben. Dass vorstehende Abschrift mit dem Original gleichstimmig ist, attestirt in fidem Gross Lubin d. April - gez.
Ich Michael Dohrau habe die Kauf Summa richtig empfangen nehmlich fl wo von ich quittire Anno den 3. Vorstehende Abschrift stimmt mit dem producireten Original solches attestiret.
Juni durch den Grodt und Krzewiszinsky aufgenommenen Inventario cum taxa. Heute indessen giebt der izzige Besizzer selber folgende Schulden zur ingrossation an.
Siebrandt und ihrem nach der Mutter verstorbenen Bruder Thomas zugefallenen Erbtheile laut Erbrecess vom Diese fl 15 gr sind also zur ingrossation zu bemelden.
Unrau laut Recess vom Juni zugestellten Erbtheil von rth 30 gr 9 pf welche gleichfalls auf dieser Immobile zur ingrossation zu notieren. May einzuziehen nachgegeben werde Peter Gertz - gez.
Nachdem nun Gott durch den zeitl. Eleonora ist gebohren Anno den Jacob ist gebohren Anno den Thomas ist gebohren Anno den Als dann soll der Besitzer des Landes denen Kindern schuldig sein mit gangbahrem zu zahlen: Zu wahrer Uhrkund und stets fester Haltung alles obigen sind 3 Exemplar gleiches Lauts und Inhalts mit einer Handt verfertiget nach dem A.
Actum Gross Lubin Jahr und Tag wie oben gez. Peter Gertz als Vater und Erbgeber bekenne wie oben vermeldet gez.
Peter Frantz als Kinder Vormund. Liefchen rth 15 gr in Summa rth 15 gr Dieses hat der Vater oder Landbesitzer empfangen und hat es in seinem Gebrauch.
Vorstehende Abschrift stimmt mit dem pro und edirten Original solches attestirt Gross Lubin d. While the old creations yet contain synths as a key element, the new album completely abandons them for the sake of a more aggressive and compact sound.
Yet it also carries the personal experiences in a world that can leave you pale, empty and broken if you cant manage to find a way out or an anchor of some kind.
Founded after years of expierence in various projects and bands, during the year of Streaming and Download help. If you like Askvald, you may also like:.
In Asche by Abkehr. The essence of first-wave black metal perfectly captured and carefully expounded upon without batting an eye at modern trends, delivered with a raw sound which manages to stay true to the good old days without sounding like shit.
Kvlt as fvck, get you this album right fvcking now.