By Hannah Arendt
The ravages of heritage may quickly take them in really diversified instructions. After Hitler took energy in Germany in 1933, Heidegger turned rector of the collage in Freiburg, providing a infamous pro-Nazi handle that has been the topic of substantial controversy. Arendt, a Jew, fled Germany a similar 12 months, heading first to Paris after which to big apple. within the many years to come back, Heidegger will be well-known as maybe the main major thinker of the 20th century, whereas Arendt might identify herself as a voice of moral sense in a century of tyranny and war.
Illuminating, revealing, and smooth all through, this correspondence bargains a glimpse into the interior lives of 2 significant philosophers.
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Extra resources for Lettere 1925-1975
In Czechoslovakia this play also provoked controversy. When Frank Tetauer translated it in 1927, he replaced "desire" with "farm": Farma pod jilmy. ) On the whole, however, O'Neill fared well in England: successful productions of The Emperor Jones, All God's Chillun Got Wings, and Mourning Becomes Electra secured the American dramatist's British reputation. And, as reviews by Kenneth Tynan indicate, The Iceman Cometh and Long Day's Journey into Night met with acclaim when they Page xvi were produced in London in 1958.
Eugene O'Neill" and appeared in The Observer, 1June 1924. The essay is reprinted with the permission of the publisher. Beyond the Horizon Versus Gold (1924) Mr. Eugene O'Neill's work has already shown such high promisemany would say such high achievementthat the publication of a Page 12 new volume of his plays is an event of not inconsiderable importance, and from the pile of books of plays and books about plays which awaited me when I returned from a few weeks' holiday I almost unhesitatingly chose his volume as the one which would most obviously interest my readers.
Clark and published in The Freeman of 21 March 1923. The item following that article is an excerpt from Hofmannsthal's "Vienna Letter," published in The Dial 74 (1923), 283. Dramaturgical Reflections (1922) It was at the Salzburg Festival last summer that I first heard the name of Eugene O'Neill. Max Reinhardt was producing one of my plays Page 4 there; a sort of mystery, a synthetic or symbolic handling of allegorical material, mounted in a church. There were a few Americans in our audience, who aroused my curiosity merely by relating the plots of The Emperor Jones and The Hairy Ape.