Heinrich von Kleist

or after an action? The writer, Heinrich von Kleist, argues that one should think after an act. He uses the example of a wrestler, “The athlete, at that moment when he is holding his opponent in his grip, simply has no recourse but to act spontaneously, on inspiration; and if he begins to calculate which muscles to contract and which limbs to move in order to throw him, he will always draw the short straw and be thrown himself” (Kleist, 1810). In this example Kleist is correct that it is more appropriate

Fortunate and merciful; yet brutal and poignant. Heinrich von Kleist’s The Earthquake in Chile (1807) was indeed a story of love, but also contained a definite twist of ferociousness. In Isak Winkel Holm’s “Earthquake in Haiti: Kleist and the Birth of Modern Disaster Discourse,” Holm portrays two different interpretations of Kleist’s story. He believes that the earthquake could mean the beginning of a siege of disaster or a merciful act for Josefa and Jeronimo’s love. The two analyses are different

discuss three different nineteenth-century thinkers and their conception of Social Darwinism. The conservative, Heinrich von Treitschke, and liberal Herbert Spencer both gave arguments on the usefulness of competition between people on a global scale. The anarchist, Peter Kropotkin, refuted the belief of constant competition among members of the same species and emphasized mutual aid. Heinrich von Treitschke's defense of Social Darwinism was a direct result of his view on the

At first Siemens downplayed the affair saying that it was only a matter of a few millions Euros. However within a month their own estimate skyrocketed up to an amount of 420 million Euros. Furthermore Klaus Kleinfeld the then recently installed CEO, denied awareness or involvement. Siemens’ first statements were exemplary of an ill-suited cursory attempting to downplay a developing scandal prematurely. This tactic appeared egoistical and lacked moral responsibility. It also damaged stakeholders’

The Dashing Meaning In the “Marquise of O,” Heinrich Von Kleist incorporates several dashes into his story. Only one, in particular, contains more meaning than the reader may realize upon reading the story for the first time. Kleist uses the dash to include dramatic irony in telling the story, but it’s not immediately clear to the reader. As the story plays out, the subtle details Kleist includes boil some suspicion within the reader’s mind. At what point in the story can the reader be in total

The four attempts were by Rudolf Christoph Freiherr von Gersdorffin the March of 1943, then in late November 1943 by Axel Freiherr von dem Bussche-Streithorst, and then again in the February of 1944 by Ewald-Heinrich von Kleist-Schmenzin, and lastly on the 11th of March, 1944 by Eberhard Freiherr von Breitenbuch. There were three large factors that likely led to the failure of the operation. Those three were the fact that a

n early German influence came from Johann Wolfgang von Goethe, whose 1774 novel The Sorrows of Young Werther had young men throughout Europe emulating its protagonist, a young artist with a very sensitive and passionate temperament. At that time Germany was a multitude of small separate states, and Goethe's works would have a seminal influence in developing a unifying sense of nationalism. Another philosophic influence came from the German idealism of Johann Gottlieb Fichte and Friedrich Schelling

The Truth Behind Religious Phrases in The Marquise of O In Heinrich von Kleist’s story, The Marquise of O, religious phrases and imagery are critical in shaping characters’ perceptions and ability to see the truth. Kleist frequently uses these descriptions to show how people can fall back to religious beliefs and use references as a source of comfort or manipulation. These religious references are not just used to deepen the internal and external conflicts in this story, but also to critique the

the alleged “bad smell” and the “oily texture” of Black skin, have informed racist discourse for centuries. And in the second part of the chapter, Benthien discusses the appearance of these themes in the literary work of two German authors, Heinrich von Kleist and Hans Henny August Jahnn. While the selected text passages echo central themes of scientific racism, Benthien uses that section deliberately to add some additional familiar racist themes to the discussion,

In The Puppet Theatre by Heinrich von Kleist and The Electric Ant by Philip K. Dick, identity and self-awareness play crucial roles as both works progress. The Puppet Theatre argues that self-awareness damages the natural grace inherent in human beings, and is the reason why puppets and gods possess more grace than humans. On the other hand, after being made aware of his identity as an organic robot, Mr. Poole from The Electric Ant obtains more control over his perception of reality as the story