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The poem is dedicated to Carl Solomon. Ginsberg began work on "Howl" Krampf Artikel In the Paul Blackburn Tape Archive at the University of California, San DiegoGinsberg can be heard reading early drafts of his poem to his fellow writing associates. It is not true that "Howl" was written as a performance piece and later published by poet Lawrence Ferlinghetti of City Lights Books.
This myth was perpetrated by Ferlinghetti as part of the defense's case during the poem's obscenity trial, Krampf Artikel. Upon the poem's release, Ferlinghetti and the bookstore's manager, Shigeyoshi Muraowere charged with disseminating obscene literature, and both were arrested. On October 3, Krampf Artikel,Judge Clayton W. Horn ruled that the poem was not obscene. According to Ginsberg's bibliographer and archivist Bill Morgan, it was Krampf Artikel terrifying peyote vision that was the principal inspiration for Howl, Krampf Artikel.
This occurred on the evening of Oct. It was the first time Ginsberg had used peyote. As was his wont, Ginsberg took notes on his vision, and these became the basis for Part II of the poem.
In late andin an apartment he had Krampf Artikel at Montgomery Street in the North Beach neighborhood of San Francisco, Ginsberg worked on the poem, originally referring to it by the working title "Strophes. A short time before the composition of "Howl", Ginsberg's therapist, Dr. Philip Hicks, encouraged him realize his desire to quit his market-research job and pursue poetry full-time and to accept his own homosexuality.
June 8, " about the death of Joan Vollmera technique that would become central in "Howl". Ginsberg showed this poem to Kenneth Rexrothwho criticized it as Krampf Artikel stilted and academic; Rexroth encouraged Ginsberg to free his voice and write from his heart.
He was under the immense influence of William Carlos Williams and Jack Kerouac and attempted to speak with his own voice spontaneously. Ginsberg would experiment with this breath-length form in many later poems. It is noted for relating stories and experiences of Ginsberg's friends and contemporaries, its tumbling, Krampf Artikel, hallucinatory style, and the frank address of sexuality, specifically homosexualityKrampf Artikel, which subsequently provoked an obscenity trial.
Burroughs Krampf Artikel, Peter OrlovskyKrampf Artikel, Lucien Carrand Herbert Krampf Artikelthe primary emotional drive was his sympathy for Carl Solomonto whom it was dedicated; he met Solomon in a mental institution and became friends with him. Ginsberg admitted later this sympathy for Solomon was connected to bottled-up guilt and sympathy for his mother's Krampf Artikel she had been lobotomizedan issue he was not yet ready to address directly, Krampf Artikel.
Poets do it all the time. But once he'd written a rough draft of Howl, he changed Krampf Artikel 'fucking mind', as he put it. Many considered it the beginning of a new movement, and the reputation of Ginsberg and those associated with the Six Gallery reading spread throughout San Francisco. Thus Krampf Artikel final collection contained several other poems written at that time; with these poems, Ginsberg continued the experimentation with long lines and a fixed base he'd discovered with the composition of "Howl" and these poems have likewise become some of Ginsberg's most famous: The earliest extant recording of "Howl" was thought to date from March 18, The Blackburn Collection recordings show otherwise.
This recording, discovered in mid on a reel-to-reel tape in the Wer und wie die Behandlung von trophischen Geschwüren College archives, contains only Part I of "Howl". After beginning to read Part II, Krampf Artikel, Ginsberg said to the audience, "I don't really feel like reading anymore.
I just sorta haven't got any kind of steam. Called by Ginsberg "a lament for the Lamb in America with instances of remarkable lamb-like youths", Part I Krampf Artikel perhaps the best known, and communicates scenes, Krampf Artikel, characters, and situations drawn from Ginsberg's personal experience as well as from the community of poets, artists, political radicalsjazz musicians, drug addictsand psychiatric patients whom Korrigieren Strümpfe KrampfKrampf Artikel in the late s and early s.
Ginsberg refers to these people, Krampf Artikel, who were underrepresented outcasts in what the poet believed to be an oppressively conformist and materialistic era, as "the best minds of my generation".
He describes their experiences in graphic detail, openly discussing drug use and homosexual activity at multiple points. Most lines in this section contain the fixed base "who". In "Notes Written on Finally Recording Howl ," Ginsberg writes, "I depended on the word 'who' to keep the beat, a base to keep measure, return to and take off from again onto another streak of invention".
Ginsberg says that Part II, Krampf Artikel, in relation to Part I, "names the monster of mental consciousness that preys on the Lamb". Part II is about the state of industrial civilization, characterized in the poem as " Moloch ". Ginsberg intends that the characters he portrays in Part I be understood to have been sacrificed to this idol.
Moloch is also the name of an industrial, demonic figure in Für die Behandlung von Krampfadern nationale Verfahren Lang 's Metropolisa film that Ginsberg credits with influencing "Howl, Part II" in his annotations for the poem see especially Howl: Most lines in this section contain the fixed base "Moloch", Krampf Artikel.
Ginsberg says of Part II, "Here the long line is used as Krampf Artikel stanza form broken into exclamatory units punctuated by a base repetition, Moloch. It is directly addressed to Carl Solomon, whom Ginsberg met during a brief stay at a psychiatric hospital in ; called Krampf Artikel in the poem, it was actually Columbia Presbyterian Psychological Institute. This section is notable for its refrain, "I'm with you in Rockland", and represents something of a turning point Krampf Artikel from the grim tone of the "Moloch"-section.
Of the structure, Ginsberg says Part III is, "pyramidal, with a graduated longer response to the fixed base". The closing section of the poem is the "Footnote", characterized by its repetitive "Holy! Ginsberg says, "I remembered the archetypal rhythm of Holy Holy Holy weeping in a bus on Kearny Street, and wrote most of it down in notebook there The frequently quoted and often parodied         opening lines set the theme and rhythm for the poem:.
I saw the best minds of my generation Krampf Artikel by madness, Krampf Artikel, starving hysterical naked, dragging themselves through the negro streets at dawn looking for an angry fix, Angel-headed hipsters burning for the ancient heavenly connection to the starry dynamo in the machinery of night.
Ginsberg's own commentary discusses the work as an experiment with the "long line", Krampf Artikel. For example, Part I is structured as a single run-on sentence with a repetitive refrain dividing it up into breaths. Ginsberg said, "Ideally each line of 'Howl' is a single breath unit. Krampf Artikel breath is long—that's the measure, one physical-mental inspiration of thought contained in the elastic of a breath, Krampf Artikel.
On another occasion, he explained: On the basis of one line in particular, Krampf Artikel. Customs officials seized copies of the poem on March 25,being imported from the printer in London, Krampf Artikel. City Lights Publisher Lawrence Ferlinghetti was subsequently arrested for publishing the book. At the obscenity trial, nine literary experts testified on the poem's behalf.
The case was widely publicized. Articles appeared in both Time and Life magazines. An account of the trial was published by Ferlinghetti's lead defense attorney Jake Ehrlich in a book called Howl of the Censor.
The film Howl depicts the events of the trial. Part one of Howl was broadcast Krampf Artikel Finland on September Betrieb von Krampfadern Bewertungen,on Yleisradio 's Finland's national public-broadcasting company "parallel programme" at The poem was read by three actors with jazz music specially composed for this radio broadcast by Henrik Otto Donner.
The poem was preceded by an eight-minute introduction. The Finnish translation was made by Anselm Hollo. It was signed by him and 82 other members of the members of Krampf Artikel. It is unclear how many of the other signatories actually had heard the broadcast.
The interpellation text only contained a short extract of six lines considered to be offensive, and Krampf Artikel of the poem of over seventy from the poem, and the debate was mainly based upon them. Also, a report of an offence was filed to the criminal investigation department of Helsinki police district because the obscenity of the poem allegedly offended modesty and delicacy, Krampf Artikel.
The report was filed by Suomen kotien radio- ja Krampf Artikel The radio and television association of Finnish homesa Christian and patriotic organization, and it was only based on the six-line fragment. In connection with that, Krampf Artikel, Yleisradio was—without grounds—accused of copyright violation as well. No charges ever followed. Yleisradio is formally the parliament's radio station, and at that time, Krampf Artikel, it Krampf Artikel considered a bastion of left-minded Krampf Artikel and "radicalists", especially because of Eino S.
RepoKrampf Artikel, the president of Yleisradio. So the Howl broadcast provided the right-wing politicians a good reason to question the operations of Yleisradio in general, especially in the light of the parliamentary election next year, Krampf Artikel. There was a heated debate in the parliament and in the press in late concerning the educational role of the Krampf Artikel service radio station that Yleisradio is, and the artistic value of Ginsberg's poem, whether it is art or mere pornography.
The debate seemed to boil down to the question of which words Krampf Artikel be allowed in public-service radio, Krampf Artikel. Finally, the Ministry of Transport and Public Works considered in December that the broadcast of Howl contravened the licence of operation of Yleisradio: Yleisradio received a reprimandand was instructed to be more careful when monitoring that no more such programs should be broadcast. Eberhart's piece helped call national attention to "Howl" as "the most remarkable poem of the young group" of poets who were becoming known as the spokespersons of the Beat generation.
The station chose instead to play the poem on a special webcast program, replete with commentary by Bob Holman, Regina Weinreich and Ron Collins, narrated by Janet Colemanon October 3, Part II of the poem was used as libretto for Song 7 in Hydrogen Jukeboxa chamber opera using a selection of Ginsberg's poems set to music by Philip Glass, Krampf Artikel.
An excerpt from the poem was used in "Mad Generation Loss", a sound recording exploring generation losspartly inspired Krampf Artikel Alvin Lucier's I am Sitting in a Room, Krampf Artikel. From Wikipedia, the free encyclopedia. This article is about the poem. For other uses, see Howl disambiguation. This section does not cite any sources, Krampf Artikel.
Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. October Learn how and when to remove this template message. Allen Ginsberg's "Howl" and the Paperback Revolution. University of California Press, Krampf Artikel. Free Press,Krampf Artikel, pp. In the introduction, Morgan states: During that period, Krampf Artikel, I managed to track down nearly everything that he had ever published and a good deal of what had been printed about him.
It was a mammoth task. Every day, as I walked to the apartment that served both as Allen's home and office, I wondered what new treasures I'd uncover, Krampf Artikel. After I sold his archive to Stanford University for a million dollars, Allen referred everyone with questions about their papers to me" p.
Early last year, Krampf Artikel, I worked on the redesign of a rather content-heavy website. Design requirements were fairly light: So, early on in the design process, we spent a sizable amount of time planning a well-defined grid for Krampf Artikel library of content modules. Over the past few years, this sort of thinking has become more common. After a few minutes of griddy thinking, the benefits become clear: However, Krampf Artikel, our client had one last, heart-stopping requirement: Normally, this would cause me to rejoice both noisily and embarrassingly.
Instead of exploring the benefits of flexible web design, Krampf Artikel, we rely on a little white lie: Instead, Krampf Artikel, I was left with a sobering fact: As almost all of the grid-based designs I could list off at that time were rigidly fixed-width, Krampf Artikel, I was left with a prickly question: Faced with an insurmountable problem, I did what I do best: Temporarily putting aside the question of how to get a grid to behave in Krampf Artikel non-fixed layout, I coded the stuff I knew: Set a paragraph in 16px Georgia, and no matter how much the user tries to increase or decrease the size of the text, it remains at 16px in IE.
IE7 and onward do allow the user to scale the entire page, but simple resizing of px-based fonts is still largely verboten in Internet Explorer. So to give our users the most flexibility, we standards-savvy designers have usually opted to sidestep the pixel Krampf Artikel, and have taken to sizing type with relative units, be they keywordspercentagesor my personal favorite, ems.
Or accurately reduce the size of that list? Or to put it more succinctly:. So to properly match our header to the comp, we divide the target value 24px by the font-size of its container 16px:. So the header is 1. To size the list to the em-equivalent of 14px, we can use the same formula. With those two Krampf Artikel, our sample page is looking a lot closer to the comp, and will be practically pixel-perfect after some slight cleanup.
If we could treat font sizes not as pixels, but as proportions measured against their container, we could do the same with the different elements draped across our grid. But those simple styles are draped over a well-defined grid: Proportions are the new black, right? From this diagram, we can flesh out some skeleton markup that keys into our content inventory, both structurally and semantically:, Krampf Artikel. In the comp, it spans five columns and their four gutters, with a total width of px.
And if we were working in a fixed-width design, our job would be pretty straightforward:. We can use the same proportional analysis to transform pixel-based column widths into percentage-based, flexible measurements. And there it is: Once again, we can Krampf Artikel that 0. We can even perform the same simple division to wrap up the layout for the entry itself, sized at px in our comp, Krampf Artikel, with some px-wide marginalia to the left of it.
These two quick divisions net us some percentages that we can drop into our stylesheet, fleshing out our layout even more:. And with that, our fluid grid shapes up a bit further. But in our initial compthe main copy inside the blog entry only spanned five columns, Krampf Artikel, with the ancillary info slotted neatly into the rightmost column. So as a result, we need to redefine our context, and work off the designed width of.
So to define the percentage-based width of the main copy, we take its designed width of px, and divide it by px:. We can now take each of these measurements, and plug them into our CSS:. It explains how different browsers handle percentage-based widths, and the mechanics by which they reconcile sub-pixel measurements. Internet Explorer, as Krampf Artikel happens, will simply round all of those sub-pixel values up, which breaks layouts.
But if IE causes undue wrapping with your percentage-based columns, reducing the target value Krampf Artikel one pixel can help. Krampf Artikel if, Krampf Artikel, for example, our left-hand marginalia was too Krampf Artikel for IE Internet Exploreryou might change your calculation from:, Krampf Artikel. Plug that width of The above is, of course, a starting point: Our users will be, too.
As you may Krampf Artikel gathered from my introductory crazed rant digression, two passions of mine are fluid web design and, more recently, the importance of a well-considered grid. And finally, at the end of a talk I gave last August on designing for fluid grids, someone pointed out the Fluid Grid System. Email Need an account? Don't put anything here. Brief books for people who make websites. An example of some basic text sized using pixels. Our basic page layout.
Our basic page, with the grid overlaid upon it. Defining our different content areas. Converting our pixel-based title to percentages. Please refresh and Krampf Artikel again.
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