Erich Maria Remarques Roman»Im Westen nichts Neues«. Text, Edition, Entstehung, Distribution und Rezeption (–). [Erich Maria Remarque's Novel. Westen nichts Neues', is an exception as it explores the techniques (the . Rezeption von Erich Maria Remarques Im Westen nichts Neues, ', Lili- . Erich Maria Remarque's Im Westen nichts Neues () remains, even after ninety years, a touchstone for writers caught in the paradox of.
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Jan. musicmarkup.infope: application/pdf musicmarkup.info: English musicmarkup.info: Im Westen Nichts Neues musicmarkup.info: Ullstein A. G. hkhjf57h - Get book Im Westen nichts Neues by Erich Maria Remarque read and download online. Full supports all version of your device, includes. Erich Maria Remarques Roman»Im Westen nichts Neues«. Text, Edition Download PDF . Analyse IV: Angaben zur Entstehung von Im Westen nichts Neues.
Brian Murdoch's translation would render the phrase as "there was nothing new to report on the Western Front" within the narrative. Explaining his retention of the original book-title, he says: Although it does not match the German exactly, Wheen's title has justly become part of the English language and is retained here with gratitude. The phrase "all quiet on the Western Front" has become a colloquial expression meaning stagnation, or lack of visible change, in any context. The patriotic speeches of his teacher Kantorek had led the whole class to volunteer for military service shortly after the start of World War I. Paul lived with his father, mother, and sister in a charming German village, and attended school. His class was "scattered over the platoons amongst Frisian fishermen, peasants, and labourers.
Written by all the dead. This discussion developed into one of the main controversies in the Weimar Republic about the representation and interpretation of World War I. In more than thirty translations into all major languages were published, and in the U. Due to its purported anti-war stance, Im Westen nichts Neues provoked controversial debates about the interpretation of the First World War and about war in general everywhere it was published.
Nevertheless, today some critics doubt the anti-war statement of the text by regarding Im Westen nichts Neues as a neutral description of the First World War, leaving its interpretation to the reader. But with 30—40 million copies sold world-wide in more than fifty languages, Im Westen nichts Neues stands today as a symbol of the anti-war movement and remains a blueprint for representing modern war in literature. Several technical innovations, such as a camera crane and battle sounds, made the movie the most realistic representation of trench warfare seen on screen to date.
I am so alone, and so without hope that I can confront them without fear.
Before the war, Tjaden was a locksmith. Throughout the book, Paul frequently remarks on how much of an eater he is, yet somehow manages to stay as "thin as a rake". He appears in the sequel, The Road Back. Among twenty enlistees was Joseph Behm, the first of the class to die in battle. In an example of tragic irony, Behm was the only one who did not want to enter the war. Kantorek is a hypocrite, urging the young men he teaches to fight in the name of patriotism, while not voluntarily enlisting himself.
In a twist of fate, Kantorek is later called up as a soldier as well. He is very popular with women; when he and his comrades meet three French women, he is the first to seduce one of them.
In chapter 11, Leer is hit by a shell fragment, which also hits Bertinck. The shrapnel tears open Leer's hip, causing him to bleed to death quickly.
His death causes Paul to ask himself, "What use is it to him now that he was such a good mathematician in school? His men have a great respect for him, and Bertinck has great respect for his men.
He permits them to eat the rations of the men that had been killed in action, standing up to the chef Ginger who would only allow them their allotted share. Bertinck is genuinely despondent when he learns that few of his men had survived an engagement.
When he and the other characters are trapped in a trench under heavy attack, Bertinck, who has been injured in the firefight, spots a flamethrower team advancing on them. He gets out of cover and takes aim on the flamethrower but misses, and gets hit by enemy fire.
With his next shot he kills the flamethrower, and immediately afterwards an enemy shell explodes on his position blowing off his chin. The same explosion also fatally wounds Leer. He is a power-hungry corporal with special contempt for Paul and his friends, taking sadistic pleasure in punishing the minor infractions of his trainees during their basic training in preparation for their deployment.
Paul later figures that the training taught by Himmelstoss made them "hard, suspicious, pitiless, and tough" but most importantly it taught them comradeship. Himmelstoss later joins them at the front, revealing himself as a coward who shirks his duties for fear of getting hurt or killed, and pretends to be wounded because of a scratch on his face. Detering[ edit ] Detering is a farmer who constantly longs to return to his wife and farm.
He is also fond of horses and is angered when he sees them used in combat. He says, "It is of the vilest baseness to use horses in the war," when the group hears several wounded horses writhe and scream for a long time before dying during a bombardment.
He tries to shoot them to put them out of their misery, but is stopped by Kat to keep their current position hidden. He is driven to desert when he sees a cherry tree in blossom, which reminds him of home too much and inspires him to leave. He is found by military police and court-martialed, and is never heard from again.
Josef Hamacher[ edit ] Hamacher is a patient at the Catholic hospital where Paul and Albert Kropp are temporarily stationed. He has an intimate knowledge of the workings of the hospital. He also has a "Special Permit," certifying him as sporadically not responsible for his actions due to a head wound, though he is clearly quite sane and exploiting his permit so he can stay in the hospital and away from the war as long as possible.
Franz Kemmerich[ edit ] A young boy of only 19 years. Kemmerich is shot in the leg early in the story; his injured leg has to be amputated, and he dies shortly after.
While in the hospital, someone steals Kemmerich's watch that he intended to give to his mother, causing him great distress and prompting him to ask about his watch every time his friends visit him in the hospital. Paul later finds the watch and hands it over to Kemmerich's mother, only to lie and say Franz died instantly and painlessly when questioned. Joseph Behm[ edit ] A student in Paul's class who is described as youthful and overweight. Behm was the only student that was not quickly influenced by Kantorek's patriotism to join the war, but eventually, due to pressure from friends and Kantorek, he joins the war.
He is the first of Paul's friends to die. War, in other words, clouds our judgment, making it challenging to sort out the facts and to determine how to advance. Dusk is one of many conditions that make for flawed perception, and Clausewitz presciently wrote about how war produces a kind of twilight that makes things seem grotesque.
Fog, twilight, smoke, haze, mists, vapors, gases, clouds, dust, steam, and miasma: all these forms of filminess impair vision, blurring it and making it a flimsy mode of perception. The disabling of the perceptual and cognitive apparatus has as its immediate consequence the inability to navigate a terrain.
Was ist das? Castorp has entered the precincts of a world marked by disintegration—dark, opaque, and lacking formal boundaries. He has entered what is literally no man's land. In this zone it is not easy to sort out what separates causes from effects, and readers quickly realize that soldiers who enter the war zone transform themselves into cogs operating within a vast, surreal machinery that has refashioned the human world.
O'Brien discovers in war an obscuring miasma that sets binary categories in crisis. All the cultural contradictions that mark the human condition are upended, for gone are the mediating terms and mitigating factors that enable us to create meaning and operate with any kind of certainty: War has the feel—the spiritual texture—of a great ghostly fog, thick and permanent.
There is no clarity. Everything swirls. The old rules are no longer binding, the old truths no longer true. Right spills over into wrong.
Order blends into chaos, love into hate, ugliness into beauty, law into anarchy, civility into savagery. The vapors suck you in. You can't tell where you are, or why you're there, and the only certainty is absolute ambiguity. What we cannot tolerate is the collapse of those oppositions and the loss of the ability to differentiate one from the other.
As readers, we move from passages of quiet, lyrical beauty to episodes of raw violence and devastating emotional turmoil. Before addressing the question of how much Im Westen nichts Neues is driven as much by the narration of facts as by the expression of feelings—and with that we move from the novel's aesthetics to the cultural work it does to recruit us as compassionate readers—it is worth pausing to determine how the novel is structured.
As a fictional autobiography, Im Westen nichts Neues is shaped in many ways by the conventions of various genres such as confessional literature, diaries, epistolary novels, prose poems, and dramatic monologues.
But, curiously, it effaces the motivating cause of the writing, giving us the illusion of simply rendering thoughts at the moment in which they are experienced.
The unimpeachable simplicity of beginning and end suggests a dispassionate observer, one in full solidarity with the soldiers but also far removed from the morbid drama that has unfolded within the frame he has set up. Dorrit Cohn's useful distinction between fictional autobiographies and historical autobiographies reminds us that all texts are in some way autobiographical even when they are fictional and, simultaneously, they can never be truly autobiographical even when they are historical.
What does he hear? For several pages, we witness the tormented efforts of the dying man to speak, hear the gurgling again and again, mixed in with intermittent groans. What is the reflex to which he resorts in the face of that silence? This sudden burst of loquaciousness is the only bulwark he can erect against the silence that seeps into his surroundings, immersing him in a sense of suffering, guilt, and dread.
Ich habe gedacht an deine Handgranaten, an dein Bajonet und deine Waffen — jetzt sehe ich deine Frau und dein Gesicht und das Gemeinsame. Vergib mir, Kamerad! The printed word is both accomplice to the mute dead man and also some kind of quiet reminder that names and words cannot revivify or bring back the dead.
Neither the spoken word nor the written word can restore, reanimate, revivify, as this last desperate attempt to defeat death by impersonating the deceased a man who, in a touch of morbid irony, prints books makes clear.
The crisis of speaking and writing in this scene of remorse encapsulates the negative dialectics of silence and speech, the futile effort to use language to fill the void left by death. And it further underscores the ineffectuality of borrowing from the dead to write their names a metonymic representation of their lives and to provide some form of consolation for the survivors. Ironically, his narrative is pockmarked with shell holes, mutilated bodies, exploding landscapes, and disfigured faces, thereby undoing the very project of resurrection in which he is so deeply invested.
We might just as well say that language becomes the site at which names become flesh and blood only to dissolve as language degenerates into disfigurement, dissolution, and decay in a vain effort to preserve, restore, and memorialize.
What better means of evoking feeling for the brotherhood of the living and the dead than by hearing them speak again?
Remarque's war novel undoes traditional aesthetics, turning scenes of carnage into sublimely grotesque bursts of battlefield contests, and it also takes up the challenge of fictionally restoring and memorializing human casualties and material losses even as it acknowledges the futility of that effort. Remarque did not download into ideologies of suffering or into Christian notions of sacrifice and redemption, yet his profound empathy for men in the combat zone led him to seek some way of finding meaning in suffering even as he recognized the senselessness of the war effort.
Is it any coincidence that the U. Repulsive Attractions and the Politics of Pacifism How does Remarque, a master of grotesque aesthetics, move his readers from their position as spectators immersed in scenes full of raw violence to unsullied witnesses absorbed in the pain of the combatants through empathetic identification?