Там прикол на 1:15 видно вывеску DROGEN --- сейчас это абсолютно однозначно НАРКОТИКИ, но тогда конечно были лекарства. Сейчас осталось слово "дрожери" это что-то типа магазина хозтоваров. Ну и из американских фильмов конечно слышен этот корень, хотя слыша "драг-шоп" иногда представляется эдакий наркоманский супермаркет
Ой, я не обращала внимания - ты права. Интересно, в чём дело? Я как-то думала, что на наших бесящих теперь туристов в Средние века были паломники, а они ещё и не мылись.
Да, тоже часто думаю об этом. Да мы еще в районе таком живем, который мало разрушен был, и в нем много еврейских кварталов было. Очень много мемориальных знаков, что в данном доме жили такие-то (имя, фамилия, год рождения каждого), тогда-то транспортом таким-то увезены в Аушвиц или Терезенштадт. Убиты тогда-то. Волосы дыбом! А ролик, судя по похожим с Youtube 1990 года, действительно. Вот еще подлинне видела. https://www.youtube.com/watch?v=B-m9A8mY-U0
"Я Пастернака не читал". Жена пересказывала. Как раз по теме. Считается классикой. Утопия построенная на отдельно взятом континенте плавно переходящая в антиутопию. Как я понял Цвейг был в чем-то наивным человеком и это тоже интересно. Ведь он был супер популярным. Главный вывод - нельзя видеть мир таким, каким хочется чтобы он был. Банально, но столько вокруг примеров... Вроде бы неглупые люди, а вот не следуют. Да и себя постоянно одергивать приходиться.
"Not for nothing, clearly, was Zweig a product of the Vienna of Freud, Schnitzler, and Schiele. And if The World of Yesterday turns out, as it now seems, to be Zweig’s most lasting and important book, it is in large part because of his rich evocation of Vienna’s turn-of-the-century culture. The city that Zweig describes, the one in which he grew up and eventually triumphed, was the Vienna of the educated Jewish haute bourgeoisie. It was only the money and the curiosity of this class, Zweig argues, that made the city’s golden age possible: “the part played by the Jewish bourgeoisie in Viennese culture, through the aid and patronage it offered, was immeasurable. They were the real public, they filled seats at the theater and in concert halls, they bought books and pictures, visited exhibitions, championed and encouraged new trends everywhere with minds that were more flexible, less weighed down by tradition.” His own movement from the mercantile middle class to the cultural elite, Zweig writes, was the ideal trajectory of all German Jewish families, instancing Aby Warburg and Ernst Cassirer—and he could have added Ludwig Wittgenstein or, indeed, Walter Benjamin.
This Jewish cultural assimilation was made possible, Zweig explains, by Vienna’s love of the arts and its tradition of toleration: “Poor and rich, Czechs and Germans, Christians and Jews peacefully lived together in spite of the occasional needling remark.” At such moments, however, the rose color of Zweig’s nostalgia is impossible to ignore. For the Vienna he idealizes was the same city where anti-Semitism flourished, where Karl Lueger became mayor on an explicitly anti-Semitic platform, and where the young Hitler laid the groundwork for his plan to exterminate the Jews. If you take Zweig at face value, it is inexplicable how Vienna became, in the interwar period, the site of a virtual civil war between Social Democrats and fascists—the city that wildly applauded the Anschluss in 1938 and happily sent its culture-loving Jews to concentration camps. As Prochnik recounts, Zweig wrote The World of Yesterday in a feverish few weeks in the summer of 1941 in, of all places, Ossining, New York, where his peregrinations had briefly taken him. If Vienna was really, as Zweig writes, the home of “live and let live”—“a principle that still seems to me more humane than any categorical imperative”—why did he end up writing about it in Ossining?"
Там прикол на 1:15 видно вывеску DROGEN --- сейчас это абсолютно однозначно НАРКОТИКИ, но тогда конечно были лекарства. Сейчас осталось слово "дрожери" это что-то типа магазина хозтоваров. Ну и из американских фильмов конечно слышен этот корень, хотя слыша "драг-шоп" иногда представляется эдакий наркоманский супермаркет
По сравнению с любым городом, даже Парижем, теперь.
А вот другой Берлин, послевоенный. https://www.facebook.com/kulturologia/videos/812643945450887/
Вот еще подлинне видела.
https://www.youtube.com/watch?v=B-m9A8mY-U0
"Not for nothing, clearly, was Zweig a product of the Vienna of Freud, Schnitzler, and Schiele. And if The World of Yesterday turns out, as it now seems, to be Zweig’s most lasting and important book, it is in large part because of his rich evocation of Vienna’s turn-of-the-century culture. The city that Zweig describes, the one in which he grew up and eventually triumphed, was the Vienna of the educated Jewish haute bourgeoisie. It was only the money and the curiosity of this class, Zweig argues, that made the city’s golden age possible: “the part played by the Jewish bourgeoisie in Viennese culture, through the aid and patronage it offered, was immeasurable. They were the real public, they filled seats at the theater and in concert halls, they bought books and pictures, visited exhibitions, championed and encouraged new trends everywhere with minds that were more flexible, less weighed down by tradition.” His own movement from the mercantile middle class to the cultural elite, Zweig writes, was the ideal trajectory of all German Jewish families, instancing Aby Warburg and Ernst Cassirer—and he could have added Ludwig Wittgenstein or, indeed, Walter Benjamin.
This Jewish cultural assimilation was made possible, Zweig explains, by Vienna’s love of the arts and its tradition of toleration: “Poor and rich, Czechs and Germans, Christians and Jews peacefully lived together in spite of the occasional needling remark.” At such moments, however, the rose color of Zweig’s nostalgia is impossible to ignore. For the Vienna he idealizes was the same city where anti-Semitism flourished, where Karl Lueger became mayor on an explicitly anti-Semitic platform, and where the young Hitler laid the groundwork for his plan to exterminate the Jews. If you take Zweig at face value, it is inexplicable how Vienna became, in the interwar period, the site of a virtual civil war between Social Democrats and fascists—the city that wildly applauded the Anschluss in 1938 and happily sent its culture-loving Jews to concentration camps. As Prochnik recounts, Zweig wrote The World of Yesterday in a feverish few weeks in the summer of 1941 in, of all places, Ossining, New York, where his peregrinations had briefly taken him. If Vienna was really, as Zweig writes, the home of “live and let live”—“a principle that still seems to me more humane than any categorical imperative”—why did he end up writing about it in Ossining?"