Search results for ""Süddeutsche Zeitung""

Ob Pippi Langstrumpf, Tom Sawyer oder Emils Detektive, schulschwänzende Kinder und Jugendliche sind in der klassischen Literatur oft Abenteurer, die durch ihre Taten und Erlebnisse den Leser zum Schmunzeln bringen. Was im 18. und 19. Jahrhundert noch humoristisch beschrieben wurde, hat Anfang des 21. Jahrhunderts einen anderen Tenor. Schulschwänzen wird zum Medienere- nis. So schreibt der Kölner Stadtanzeiger „Alles ging den Bach runter – Kinder schwänzen zunehmend die Schule“ (Ksta 15. 07. 2002), die Süddeutsche Zeitung titelt „Schulsport Blaumachen“ (Süddeutsche Zeitung 15. 02. 2000), und dem WDR zufolge liegt das „Schwänzen im Trend“ (WDR 22. 02. 2002), Spiegel Online betont „Schwänzer sind Störenfriede“ (Spiegel 22. 02. 2002) und der Fokus warnt „Schulschwänzer riskieren Lehrstelle“ (Fokus 13. 05. 2007). Trotz der Tatsache, dass in vielen Medienberichten von einer Zunahme des Sch- schwänzens berichtet wird, ist unklar, ob diese Aussage zutrifft oder nicht, denn letztlich fehlen repräsentative Daten, die eine solche Darstellung zulassen w- den. Auch die relativ abgesicherten Kenntnisse über eine Zunahme der Anz- gen und Bußgeldbescheide (Bundesministerien des Innern und der Justiz 2001: 1 557 oder Bezirksregierung Düsseldorf 2001) sagen nichts über die Entwicklung des Schulschwänzens aus, da auch angenommen werden kann, dass sich nur das Anzeigenverhalten verändert hat, nicht aber das eigentliche Schwänzen. Ferner hängt die Zahl der Bußgeldbescheide auch von behördeninternen Regelungen ab, die sich auf die Meldepraxis der Schulen auswirken können, ohne dass sich die Verbreitung des Schulschwänzens verändert haben muss.

Read more less

This volume presents two plays written for Deutsches Schauspielhaus Hamburg and not yet staged in English.The Rest Will Be Familiar to You from Cinema rewrites Euripides' Phoenician Women. As Thebes braces itself for civil war, a group of terrifying young women wrest control of the action from the power-players of Greek myth. 'A brilliant new interpretation of Euripides' ancient drama.' Süddeutsche Zeitung'Innovative and gripping theatre.' Hamburger AbendblattThe Rest Will Be Familiar to You from Cinema was voted Best Foreign Play 2013 by Theatre heute magazine. In Men Asleep, the late-night arrival of a younger couple at Julia and Paul's tasteful townhouse apartment exposes the fault line between generations and probes our assumptions about gender and power. 'A mysterious and disquieting "nocturne" about human relationships.' Die Welt'Martin Crimp is less interested in deconstructing the bourgeoisie than in investigating the altered relations between men and women . . . The ending of his intelligent and entertaining play is ambiguous and potentially terrifying.' Der Freitag

Read more less

More than a decade ago, Nobel Prize-winning atmospheric chemist Paul Crutzen first suggested that we were now living in the "Anthropocene," a new geological epoch in which human dominance of biological, chemical and geological processes on Earth was already an undeniable reality. Crutzen's ideas inspired Christian Schwägerl to do further documentation and to write this stimulating book. "...intellectually exciting book...shows us how we humans turn our relationship with Nature upside down." -- Achim Steiner, Executive Director of the UN Environment Program (UNEP) "Schwagerl may not be summoning the apocalypse so much as ringing in the Sunrise World as a Green Utopian." -- Jeanne Rubner, Süddeutsche Zeitung "...skillfully investigated, and an invitation to join a dawning Age of Humans, where our total responsibility is fundamental to life itself." -- Prof. Dr. Reinhold Leinfelder, Former CEO of Berlin's Museum of Natural History and advisor to the German government on global environmental change

Read more less

Shortlisted for Deluxe Edition of the Year at the Presto Music Awards 2023 Picture a day like this is the fourth operatic collaboration between George Benjamin and Martin Crimp, whose acclaimed partnership produced Written on Skin, Lessons in Love and Violence, and Into the Little Hill. This limited edition of the full score is one of only one hundred and fifty, presented in a cloth-bound hard cover. It is signed by George Benjamin and Martin Crimp and includes facsimile reproductions of pages from the manuscript, sketches by Benjamin and Crimp, and a photograph of Benjamin, Crimp and directors Daniel Jeanneteau and Marie-Christine Soma in rehearsal at the Aix-en-Provence Festival. In this bittersweet fable of grief and renewal. Benjamin and Crimp tell the story of a Woman who has lost her child: if, before nightfall, she meets one truly happy person and cuts a button from their sleeve, her child will live again. In her search she meets a pair of lovers, a Composer and their Assistant, an Artisan, Collector, and, in a beautiful garden, the mysterious Zabelle. ‘Benjamin proves with this taut, sharp miniature that he is the finest opera composer of today…a work of depth of feeling, humanistic artistry and expressive rigor…a drama that is miraculously condensed.’ Süddeutsche Zeitung (Reinhard J. Brembeck) 9 July 2023

Read more less

Dieses Buch gibt einen fundierten Überblick über Change- und Corporate-Venture-Capital-Strategien im Mediensektor. Viele Medienunternehmen stehen vor der Herausforderung, das eigene (Kern-)Geschäft weiterzuentwickeln sowie eine deutlichere Orientierung am Kundennutzen zu verfolgen und dennoch die eigene kreative und publizistische Mission beizubehalten. Darüber hinaus gilt es, neue Geschäftsfelder aufzubauen und den Ankauf von Unternehmen oder die Beteiligung an Start-ups voranzutreiben. Der dabei erforderliche Spagat zwischen strategischen und finanziellen Zielen sowie die operative Umsetzung stellen eine beachtliche Herausforderung dar.Die Branchenexperten analysieren in ihren Beiträgen die vielfältigen Potenziale sowie konkrete Maßnahmen und Best Cases. Dabei kommen Medieninsider und medienunabhängige Experten zur Sprache, die die Change-Strategien, -Maßnahmen und -Fallstudien beleuchten und neue Gestaltungsmöglichkeiten aufzeigen.Beitragsautoren (in der Reihenfolge der Beiträge): Daniel Kempf, Dr. Ramona Lermer (Mediengruppe Pressedruck – pd digital) Dennis Ahrling (GMPVC German Media Pool) Carsten Schicker (Bauer Media Group) Manfred Neufang (BZ.medien) Julia Horneber (Die Unternehmenswandler) Prof. Dr. Matthias Sure (Hochschule Fresenius für Wirtschaft & Medien Köln) Isabel Nina Russ (profil), Daniel Keiper-Knorr (SpeedInvest) Nico Lumma, Christoph Hüning (NMA Venture Capital) Johannes Heinen (Heinen-Verlag) Prof. Dr. Friederike Bing (Hochschule für Medien, Wirtschaft und Kommunikation Köln) Johannes Hauner, Stefan Hilscher (Süddeutsche Zeitung Digitale Medien) Romy Schnelle, Kilian von Berlichingen (High-Tech Gründerfonds) Juliane Koch-Herlyn, Georgia Hädicke (i-potentials) Christian Knott (Capnamic Ventures)

Read more less

"An oddly poignant book and a genuine surprise." — Classic Cars Neo Classics® are rare manufactured vehicles, one-of-a-kind high-end cars, special short-run cars, and “young classics.” They are vehicles that become legends — and coveted collectors’ items — the moment they leave the factory. Faster, more powerful, more exclusive: whether they’re called supercars or hypercars, these are turbo-charged fantasies in chrome. For most of us, however, they will remain dreams on wheels. In this book, René Staud brings the dream a little closer. Page after gleaming page, the “Master of Light” brings these shining stars to our coffee table — from the Bugatti Chiron to the Lamborghini Huracán Spyder to the Mercedes AMG One. The images are accompanied by expert texts from the seasoned automotive writer and aficionado, Jürgen Lewandowski. René Staud is considered one of the most sought-after automotive photographers and one of the most innovative in the industry. With the Magicflash® lighting system, he has given not only his art, but studio photography in general an important impulse. He has published six volumes with teNeues. With more than 70,000 copies sold, they are in turn classics of automotive literature. With texts by Jürgen Lewandowski, the automotive section editor of the Süddeutsche Zeitung for over 20 years, and the author of roughly 100 books about cars. Among his books published by teNeues are the best-selling titles The Porsche 911 Book and The Ferrari Book – Passion for Design. Text in English and German.

Read more less

"A lyrical 'book of days' . . . A bejewelled mosaic" Financial Times"Humane, insightful and deeply cultured" Times Literary SupplementThough a tireless explorer of distant cultures, for more than forty years Cees Nooteboom has also been returning to Menorca, "the island of the wind", and it is in his house there, with a study full of books and a garden taken over by cacti and many insects, that the 533 days of writing take place. The result is not a diary, nor a set of movements of the soul organised by dates, but "a book of days", with observations about what is immediately around him, his love for Menorca, his thoughts on the world, on life and death, on literature and oblivion. Every impression opens windows onto vast horizons: the Divine Comedy and the books it generated, the contempt of Borges for Gombrowicz, the death of David Bowie, the endless flight of the Voyagers, the repetition of history as a tragedy, but never as farce. 533 is a meditative rhapsody that would like to exclude the noise of current events, yet must return to them several times, and sceptically contemplates the threat of a disintegrating Europe. Reading this book is like having an extraordinary conversation with an extraordinary mind."The very first pages are so powerful that you suspect the author must have binned the preceding pages that were needed to climb to such heights" De Volkskrant"The 533 days captivate in their undisguised openness to the world" Süddeutsche Zeitung Photographs by Simone Sassen * Translated from the Dutch by Laura Watkinson

Read more less

Eight essays on literature, language, art, Europe and life from one of Germany's most revered living writers. After a visit to Putin's old postbox, the reader is taken to Dresden and Brixton, Gdansk and Minsk, diverted to birds, bees, stray cats and pet dogs, confronted with Stasi and KGB, Proust and Jah Shaka, puzzled by overcoats and anoraks, Francis Bacon and Vermeer, and lost (then found) in service stations and memorial centres. Throughout, Marcel Beyer forges unexpected links and makes unpredictable leaps. "I work from the margins, partly very literally as I build my sentences, for instance when I start with the name of a colour rather than a noun, to explore how the sentence might be steered from there to a subject. In my reading, I am drawn to the outliers or, as malicious claims would have it, to the obscure. Central books: that is, those everyone can agree on, have never much interested me. I am rarely tempted to explore the centre of my world in writing, and even if I did want to encroach upon a centre, I would have to choose a path from the outside. But outside, too, one advances to the heart of things." Inspired by the great W. G. Sebald, Beyer's playful literary investigations wend through the high points and horrors of Europe's artistic history, towards a profoundly personal conclusion. "Reading Beyer, you begin to look more closely at the things around you and to be more patient in trusting your own associations and digressions." Literarische Welt; "In the geographical movement eastwards, the decades after 1989 take shape in a wealth of acoustic, visual and atmospheric perceptions: fonts, posters, buildings, modes of transport are witnesses as important as the people themselves." Suddeutsche Zeitung; "Beyer traces similarities, adjacencies, succeeding over and over in interrelating ostensibly disparate themes and objects, words and images." Deutschlandfunk; "Marcel Beyer is a wonderfully clear- sighted storyteller. His writing is breezy and intelligent and always carries its double and deeper meaning with it." Bayern 2 Radio

Read more less

Text in English & German. If laziness is the mother of all inventions, then the car is its masterpiece. The earliest means of locomotion was walking, followed by riding on horses or camels; finally, with the invention of the wheel, came the ability to use carriages, which not only made locomotion far more comfortable but also brought the transportation of goods to a whole new level. However, it then took millennia for carriages to go from being propelled by horses or oxen to engines, initially steam-driven, then propelled by internal combustion engines and early experiments with electric propulsion. Cars were initially the result of pure craftsmanship, and as passenger cars were based on the concept of the carriage. The assembly line had not entirely abandoned the carriage look, but already showed a typical automobile profile: equal-sized wheels, engine bonnet, passenger compartment. The predominant body colour of cars manufactured between 1910 and 1930 was black, while all makes of car had an almost uniform appearance. As manufacturers moved away from metal-panelled wooden frames to an all-steel design, they hesitantly ventured to adopt new forms. Improved undercarriages and higher engine performance were initially limited by air resistance, which above a speed of 60 kilometres per hour is the strongest of all driving resistances. This led to the development of new body shapes that offer less resistance to the airstream. Engineers still determined the form of the car, sometimes even achieving formal elegance. It was only rarely that members of other professions, such as the architects Le Corbusier or Walter Gropius, were commissioned to design a car. Between the two World Wars North America had the worlds largest fleet of cars; this also meant that their design became an increasingly important sales factor. Professsional automobile design was established. As they continued to develop technically, cars in the 1950s moved further and further away from the physically logical form of a moving body. One of the last and most outstanding examples of a form with optimum resistance to the airstream is the Citroën ID/DS of 1955. Others, indeed almost all, opted for the pure symbolism of speed and power, whose most important ingredients were tail fins and chrome. Today, with a global annual production of close to 100 million passenger cars, automotive style has come to be represented by a wide range of almost every imaginable form. Architect Hans-Ulrich von Mende has worked with partners in an independent practice since 1990. For 50 years his writings and drawings on automotive design have appeared in books, trade journals (mot, autobild) and the daily press (Frankfurter Allgemeine Zeitung, Süddeutsche Zeitung).

Read more less

It is Brighton, 1959, and the theatre at the end of the pier is having its best summer season in years. Ronnie, a brilliant young magician, and Evie, his dazzling assistant, are top of the bill, drawing audiences each night. Meanwhile, Jack – Jack Robinson, as in ‘before you can say’ – is everyone’s favourite compère, a born entertainer, holding the whole show together. As the summer progresses, the off-stage drama between the three begins to overshadow their theatrical success, and events unfold which will have lasting consequences for all their futures. Rich, comic, alive and subtly devastating, Here We Are is a masterly piece of literary magicianship which pulls back the curtain on the human condition. 'One to watch for 2020' according to:The Sunday Times The TimesThe Daily Telegraph The Guardian Financial Times Evening Standard The Scotsman The Irish Times 'He tells simple, truthful stories about what feel like real people. Here We Are is a welcome addition to a proud legacy.' The Big Issue The variety of voices and its historical and emotional reach are so finely entwined, it is as perfect and smooth as an egg. Passages leap out all the time, demanding to be reread, or committed to memory... It is perhaps too simple to say that Swift creates a form of fictional magic, but what he can do with a page is out of the ordinary, far beyond most mortals’ ken.' Rosemary Goring,The Herald'Here We Are is a subtle portrait of a vanished world, with moving passages about the problems of wartime evacuees returning to impoverished London life after the wonders of the countryside.' The Independent ‘In Here We Are, Swift does not just dwell on the pivotal moments of our lives, but traces their shockwaves both forward and back. Moving seamlessly from pre-war to post, from the events of one illusory, youthful summer to the present, we are given candid access to the innermost reflections of three people who loved and betrayed each other. The end result is the stuff of life, an enduring mystery that Ronnie, Evie, Jack - that we all - must live with. I thought it was wonderful.’ Joseph Knox, author of Sirens‘As with all his books, it’s the moments of quiet, undramatic poignancy that stay with you’ Sunday Express‘a quietly, devastating, magical novel’ Telegraph‘With a wizardry of his own, Swift conjures up an about-to-disappear little world and turns it into something of wider resonance’ Sunday Times ‘We are propelled into something extraordinary…Swift’s closing account of a mundane world momentarily pierced by a shaft of numinous mystery is magnificent’ New York Times ‘Graham Swift has perfected a distinctive style…his beautiful new novel Here We Are…is a work of magic: neither trick nor illusion, but a flash of truth’ Wall Street Journal ‘Swift captures the tragicomedy of life’ Washington Post ‘Here We Are is a paragon of the magic of compressed narration…Once again, Swift has demonstrated wizardry in his ability to conjure magic out of ordinary lives' NPR USA ‘ ‘“Here we are.” How easily those three small words can vanish in expected niceties—and how loaded they can be with bewilderment at the inexorable ‘‘tilt of the world’’. Graham Swift conjures them all, and more, in this short, word-perfect novel' Sydney Morning Herald ‘Graham Swift is the quiet master of fiction' The Age, Melbourne ‘An ethereal foray into the vanishing world of the magician…beautiful, breath-taking and heart-wrenching' Australian Women’s Weekly ‘In 2016 with his book Mothering Sunday Graham Swift reached a high plateau of storytelling art...Graham Swift‘s new novel Here We Are is on the same high plateau as Mothering Sunday' Süddeutsche Zeitung, Germany ‘The beauty of Graham Swift‘s books is that he gives you what you want without your knowing that you wanted it. How does he achieve this magical feat? It remains his secret. What a magician' Tagesspiegel, Germany ‘Swift is a master of the nuance and the hint, of what remains unsaid. In this respect a novel about magic and illusion seems exactly the right terrain for him...Once again he proves that he is one of the great conjurers of contemporary literature' Wiener Zeitung, Austria ‘Swift employs an unadorned but intense, musical prose that bathes the events described in an elusive gleam…Not for the first time Graham Swift captures the magic and mystery of ‘ordinary’ lives' Het Parool, Netherlands ‘The author knows, as always, how to render the human condition with a light touch… To catch the magic of life in words: an undertaking Graham Swift has mastered like no one else' De Telegraaf, Belgium ‘Swift doesn’t write, he whispers. His work is characterised by stories of ordinary life that, thanks to his mediation, always reveal a universal dimension…Here We Are is yet more proof of his incredible soft-voiced technique…a perfect example of Swift’s ability to touch the hidden poetry in every human being' Corriere della Sera, Italy It is one of those wonderful tales that one could have read fifty years ago or discovered half a century hence with the same delight, one of those novels of timeless beauty—thanks to the art of Graham Swift, who has no equal in evoking the atmosphere of an era while probing human psychology with irony and tenderness' L’Express, FrancePraise for Mothering Sunday: 'Bathed in light; and even when tragedy strikes, it blazes irresistibly… Swift’s small fiction feels like a masterpiece’ Guardian ‘Alive with sensuousness and sensuality … wonderfully accomplished, it is an achievement’ Sunday Times ‘From start to finish Swift’s is a novel of stylish brilliance and quiet narrative verve. The archly modulated, precise prose (a hybrid of Henry Green and Kazuo Ishiguro) is a glory to read. Now 66, Swift is a writer at the very top of his game’ Evening Standard ‘Mothering Sunday is a powerful, philosophical and exquisitely observed novel about the lives we lead, and the parallel lives – the parallel stories – we can never know … It may just be Swift’s best novel yet’ Observer

Read more less