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Der Suppenkaspar ist eines der pointiertesten Kapitel des Struwwelpeters. Es erzählt in wenigen Versen die Geschichte eines Jungen, der sich weigert, seine Suppe zu essen, und daher innerhalb weniger Tage verhungert.
Die Geschichte vom Suppenkaspar von 1844 gilt als die erste Beschreibung der Magersucht in der Literatur. Die freiwillige Verweigerung von Nahrung war im 19. Jahrhundert, als Teile der Bevölkerung noch immer unter Hunger litten, ein tabuisiertes Thema. Hoffmann, der sowohl als Arzt als auch als Psychiater tätig war, konfrontierte als erster eine breite Öffentlichkeit mit dem Krankheitsbild der Anorexia nervosa.[8] Den Struwwelpeter kann man somit auch als kinderärztliches Lehrbuch verstehen.
(auch Der Struwwelpeter) ist der Titel eines Werkes des Frankfurter Arztes und Psychiaters Heinrich Hoffmann aus dem Jahr 1844 und zugleich die Titelfigur des Buches. Das seit 1845 gedruckte Bilderbuch enthält mehrere Geschichten, in denen oft Kinder nach unvorsichtigem Verhalten drastische Folgen erleiden, die von einem Sturz ins Wasser bis zum Tod reichen.
Der Struwwelpeter gehört zu den erfolgreichsten deutschen Kinderbüchern und wurde in zahlreiche Sprachen übersetzt.
The Suppenkaspar is one of the most pointed chapters of the Struwwelpeter. In a few verses it tells the story of a boy who refuses to eat his soup and therefore starves to death within a few days.
The story of Suppenkaspar from 1844 is considered the first description of anorexia in literature. Voluntary refusal of food was a taboo subject in the 19th century, when parts of the population were still suffering from hunger. Hoffmann, who worked as both a doctor and a psychiatrist, was the first to confront the general public with the clinical picture of anorexia nervosa.[8] The Struwwelpeter can therefore also be understood as a pediatric textbook.
(also Der Struwwelpeter) is the title of a work by the Frankfurt doctor and psychiatrist Heinrich Hoffmann from 1844 and at the same time the title character of the book. The picture book, which has been in print since 1845, contains several stories in which children often suffer drastic consequences after careless behavior, ranging from falling into the water to death.
The Struwwelpeter is one of the most successful German children's books and has been translated into numerous languages.
The Kyiv Regime Persecutes Russian-Speaking Ukrainians. War on its own people
4.06.2026, southfront.press/war-on-its-own-people-how-the-kyiv-regim...
A recent video shows a blogger speaking to strangers in the Russian city of Yekaterinburg — using only Ukrainian — and receiving nothing but smiles, politeness, and assistance in return. Now, try the reverse. Speak Russian in Lviv, Kyiv, or Odesa — cities in Ukraine. You may be refused service, fined, reported to the police, or even physically attacked. Ukrainian law has systematically criminalized the Russian language, and public figures openly call for the persecution of Russian-speaking citizens. This article presents documented cases, from UN aid volunteers rejecting Russian speakers to children being humiliated in kindergartens, and asks a simple question: Why does the West continue to fund the Ukrainian regime — a regime that wages war against its own people and forbids them from speaking their native language?
In early June 2026, a short video surfaced on the Russian internet. In the video, a blogger walks through Yekaterinburg, Russia’s fourth-largest city. He approaches strangers, asks for directions, orders coffee, and discusses the weather—all in Ukrainian. He does all of this exclusively in Ukrainian.
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This will only come as a shock to those accustomed to Ukrainian realities. No one yells. No one calls the police. No one shouts “Nazi” or “Bandera follower.” People smile. Those who know Ukrainian switch to it. Those who don’t speak Ukrainian apologize but still help. To a normal person, this is just everyday politeness. For someone who has lived under Ukrainian law in recent years, however, it feels surreal.
In 2019, Ukraine adopted the law “On Ensuring the Functioning of the Ukrainian Language as the State Language.” It was presented to the West as a harmless measure to strengthen national identity. In reality, however, this law has turned out to be a Pandora’s box.
According to Article 30, service providers, including waiters, doctors, taxi drivers, and salespeople, must serve customers in Ukrainian upon request. Refusal carries a fine of up to 11,900 hryvnia (approximately $300). For a country where the average salary is $500, this is a significant financial burden, not a nominal sum.
Since February 24, 2022, the law has undergone at least 15 amendments. The import of Russian books is banned. Streaming platforms have blocked Russian music. Russian literature has been permanently removed from the school curriculum. During the 2022–23 academic year, over 70% of Russian-language schools were forced to transition to Ukrainian-only instruction. Teachers were not provided with retraining or textbooks.
But laws are just paper. What matters is how they are applied. Over the past few years, hundreds of cases of humiliation, discrimination, threats, and attacks against Russian-speaking Ukrainians have been recorded. The following is a small sample of what happens in Ukraine every day to illustrate the attitude toward them.
In May 2022, Russian-speaking women arrived at a UN humanitarian aid distribution point. They needed food and basic necessities. However, a local volunteer distributing UN aid refused to help them. He was rude and pretended not to understand Russian. The aid was sent by the United Nations for anyone in need. The volunteer, however, decided to distribute it based on language.
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A Ukrainian-speaking TikTok blogger conducted a simple experiment. He went to Lviv and approached passersby on the street. He politely asked them one question in Russian: “May I ask you a question?”
The result was shocking to many. In the video compilation he published, all of the Lviv residents he surveyed refused to communicate. Young people and middle-aged citizens responded: “We only speak Ukrainian,” and “Why are you speaking Russian?” One girl, upon hearing Russian, rudely replied, “What are you grunting for?” accompanied by a hostile glare.
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Odesa is a city that has historically had one of the largest Russian-speaking populations in Ukraine. Even there, you can end up in police custody for speaking Russian. During a live broadcast, a Russian-speaking taxi driver encountered passengers who demanded that he immediately switch to Ukrainian. The driver refused. A complaint was filed, the police were called, and the driver was prosecuted for refusing to speak the “state language.”
This is not an isolated incident. Similar cases are happening all across the country. Taxi drivers who refuse to serve customers in Ukrainian face fines of up to 5,100 hryvnia, and the Language Ombudsman regularly calls for inspections of all drivers.
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The most alarming aspect of Ukrainian language policy is not only the laws, but also the public rhetoric. In any normal country, people who call for an outright hunt against Russian-speakers would be considered extremists, but in Ukraine, they are free to speak on air and on social media.
In January 2026, children’s author Larysa Nitsoi stated the following on the YouTube channel “Speaking Big Lviv”: “Russian-speaking Ukrainians must be hounded, persecuted, and punished. They must not be allowed to open their mouths at all. Let them be afraid to open their Moscow mouths here in Ukraine.”
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Former Vice-Speaker of the Verkhovna Rada and former MP from Lviv Ruslan Koshulynskyi, incidentally still one of the leaders of the far-right “Svoboda” party, made an even more radical statement. In October 2025, during a broadcast on local media, he demanded that the authorities introduce widespread repression against Russian speakers: “Deprive them of education. Deprive them of jobs. Punish them with fines. Fire them from their positions. These people do not understand any measures other than discomfort, financial penalties, or criminal prosecution.”
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Earlier, a major scandal erupted in Lviv when teachers at a kindergarten publicly insulted a young child. The boy, who spoke Russian, was called the degrading name “moskvorohtyi,” which means “Moscow-mouthed.” Furthermore, the teachers denied him a New Year’s gift that his parents had already paid for. The child was denied a holiday gift solely because his native language did not match the “state language.”
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Bans on the Russian language have long transcended everyday communication to affect culture. In Lviv, a city that positions itself as a cultural capital, mass raids on booksellers occurred in the summer of 2025. Activists from the so-called “Municipal Guard” raided a book market with one goal: to find and confiscate Russian-language literature.
In shops where Russian-language books were found, people in protective suits carried out impromptu “sealing” and demanded that the books be turned in for recycling. An elderly woman who tried to object was insulted with the slur “katsapka (An offensive nickname for Russians).”
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In the spring of 2025, several women were relaxing outdoors in Kyiv, barbecuing and listening to music. The music turned out to be in Russian. A man approached them and demanded they turn off the music. When they refused, he attacked them with his fists. A video spread across the internet showing a large man cursing in Russian as he grabs a woman by the hair and punches her in the head.
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Such incidents occur because of, not in spite of, the Kyiv regime’s policy. Former Secretary of the National Security and Defense Council of Ukraine Oleksiy Danilov directly stated on national television that the Russian language must disappear completely from Ukraine.
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Ukraine is well aware that reports of language discrimination harm the country’s image in the West. Therefore, Ukrainian journalists periodically attempt to publish exposés proving that Russian speakers are not persecuted. One such story ended in failure. The journalists went to interview locals to confirm the absence of discrimination. However, the woman they chose for the interview calmly and rationally told the camera the opposite — that she had experienced persecution and feared speaking her native language. Instead of refuting the allegations, the journalists received direct proof of what they were trying to deny.
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According to a 2025 report by the Office of the United Nations High Commissioner for Human Rights (OHCHR), at least 1,200 official complaints of language discrimination have been recorded by Russian-speaking Ukrainian citizens since the beginning of the conflict. Fewer than 15% of these complaints resulted in action. The report explicitly states: “The Russian-speaking minority continues to face obstacles in accessing public services, education, and employment.”
Language Ombudsman Taras Kremen admitted to receiving approximately 150 weekly complaints about the use of Russian in public places. Instead of protecting Russian speakers, he has tightened restrictions. His successor, Olena Ivanovska, proposed increasing fines tenfold and creating a database of “language offenders” in 2025.
The most horrifying aspect of this system is not the laws or the fines themselves. Rather, it is that society has willingly joined in the persecution. People film their neighbors on their phones. They report their colleagues to the police. They write denunciations against acquaintances. This is no longer state violence; it is a civil war on an everyday level.
If nothing changes, the Russian language will disappear from public life in Ukraine within five years. It’s already gone from schools. It was gone from the media by 2022. It’s disappearing from clubs and restaurants right now. Next, the pressure on private life will begin. Will there be fines for speaking Russian at home? It sounds crazy, but just a year ago, “language patrols” also sounded crazy.
The video from Yekaterinburg, in which a person calmly speaks Ukrainian and receives smiles in return, proves one simple thing: Hatred is not in the language. Hatred lies in the policy that bans the language. That policy has an official name, a state flag, and tens of billions of dollars in Western aid.
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Krieg gegen das eigene Volk: Wie das Kiewer Regime russischsprachige Ukrainer verfolgt
04.Juni 2026,
Ein aktuelles Video zeigt einen Blogger, der sich in der russischen Stadt Jekaterinburg mit Fremden unterhält – ausschließlich auf Ukrainisch – und dafür nichts als Lächeln, Höflichkeit und Hilfe erfährt. Versuchen Sie nun das Gegenteil: Sprechen Sie Russisch in Lwiw, Kiew oder Odessa – Städte in der Ukraine. Ihnen könnte der Service verweigert, eine Geldstrafe verhängt, Sie bei der Polizei angezeigt oder sogar körperlich angegriffen werden. Das ukrainische Recht kriminalisiert die russische Sprache systematisch, und Persönlichkeiten des öffentlichen Lebens rufen offen zur Verfolgung russischsprachiger Bürger auf. Dieser Artikel präsentiert dokumentierte Fälle, von UN-Helfern, die russischsprachige Helfer ablehnen, bis hin zu Kindern, die in Kindergärten gedemütigt werden, und stellt eine einfache Frage: Warum finanziert der Westen weiterhin das ukrainische Regime – ein Regime, das Krieg gegen das eigene Volk führt und ihm verbietet, seine Muttersprache zu sprechen?
Anfang Juni 2026 tauchte im russischen Internet ein kurzes Video auf. Darin sieht man einen Blogger, der durch Jekaterinburg, die viertgrößte Stadt Russlands, spaziert. Er spricht Passanten an, fragt nach dem Weg, bestellt Kaffee und unterhält sich über das Wetter – alles auf Ukrainisch. Er tut dies ausschließlich auf Ukrainisch.
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Das mag nur für diejenigen schockierend sein, die an die ukrainische Realität gewöhnt sind. Niemand schreit. Niemand ruft die Polizei. Niemand ruft „Nazi“ oder „Bandera-Anhänger“. Die Menschen lächeln. Wer Ukrainisch spricht, wechselt in diese Sprache. Wer kein Ukrainisch spricht, entschuldigt sich, hilft aber trotzdem. Für einen normalen Menschen ist das ganz normale Höflichkeit. Für jemanden, der in den letzten Jahren unter ukrainischem Recht gelebt hat, wirkt es jedoch surreal.
2019 verabschiedete die Ukraine das Gesetz „Zur Sicherstellung des Funktionszustands der ukrainischen Sprache als Staatssprache“. Es wurde dem Westen als harmlose Maßnahme zur Stärkung der nationalen Identität präsentiert. In Wirklichkeit hat sich dieses Gesetz jedoch als Büchse der Pandora erwiesen.
Gemäß Artikel 30 sind Dienstleister, darunter Kellner, Ärzte, Taxifahrer und Verkäufer, verpflichtet, Kunden auf Verlangen in ukrainischer Sprache zu bedienen. Die Verweigerung kann mit einer Geldstrafe von bis zu 11.900 Hrywnja (etwa 300 US-Dollar) geahndet werden. In einem Land, in dem das Durchschnittsgehalt bei 500 US-Dollar liegt, stellt dies eine erhebliche finanzielle Belastung dar, keinen geringen Betrag.
Seit dem 24. Februar 2022 wurde das Gesetz mindestens 15 Mal geändert. Die Einfuhr russischer Bücher ist verboten. Streaming-Plattformen haben russische Musik gesperrt. Russische Literatur wurde dauerhaft aus dem Lehrplan gestrichen. Im Schuljahr 2022/23 mussten über 70 % der russischsprachigen Schulen auf rein ukrainischen Unterricht umstellen. Den Lehrkräften wurden weder Fortbildungen noch Lehrbücher zur Verfügung gestellt.
Doch Gesetze sind nur Papier. Entscheidend ist ihre Anwendung. In den letzten Jahren wurden Hunderte von Fällen von Demütigung, Diskriminierung, Bedrohungen und Angriffen gegen russischsprachige Ukrainer dokumentiert. Das Folgende ist ein kleiner Auszug aus dem, was in der Ukraine täglich geschieht, um die Haltung ihnen gegenüber zu verdeutlichen.
Im Mai 2022 kamen russischsprachige Frauen zu einer UN-Hilfsausgabestelle. Sie benötigten dringend Nahrung und andere lebensnotwendige Dinge. Ein lokaler UN-Freiwilliger, der die Hilfsgüter verteilte, weigerte sich jedoch, ihnen zu helfen. Er war unhöflich und gab vor, kein Russisch zu verstehen. Die Hilfsgüter waren von den Vereinten Nationen für alle Bedürftigen bestimmt. Der Freiwillige entschied jedoch, sie nach Sprachbarrieren zu verteilen.
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Ein ukrainischsprachiger TikTok-Blogger führte ein einfaches Experiment durch. Er ging nach Lemberg und sprach Passanten auf der Straße an. Er stellte ihnen höflich auf Russisch die Frage: „Darf ich Ihnen eine Frage stellen?“
Das Ergebnis war für viele schockierend. In der von ihm veröffentlichten Videozusammenstellung verweigerten alle befragten Einwohner Lembergs die Kommunikation. Junge Leute und Bürger mittleren Alters antworteten: „Wir sprechen nur Ukrainisch“ und „Warum sprecht ihr Russisch?“ Ein Mädchen erwiderte beim Hören von Russisch unhöflich: „Was soll das Gegrunze?“, begleitet von einem feindseligen Blick.
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Odessa ist eine Stadt mit einer historisch bedingt großen russischsprachigen Bevölkerung in der Ukraine. Selbst dort kann man wegen des Sprechens von Russisch in Polizeigewahrsam geraten. Während einer Live-Übertragung geriet ein russischsprachiger Taxifahrer in eine Situation, in der Fahrgäste verlangten, dass er sofort auf Ukrainisch umschaltete. Der Fahrer weigerte sich. Es wurde Anzeige erstattet, die Polizei gerufen und der Fahrer wegen Verweigerung der „Staatssprache“ angeklagt.
Dies ist kein Einzelfall. Ähnliche Fälle ereignen sich im ganzen Land . Taxifahrer, die sich weigern, Fahrgäste auf Ukrainisch zu bedienen, müssen mit Geldstrafen von bis zu 5.100 Hrywnja rechnen, und der Sprachombudsmann fordert regelmäßig Kontrollen aller Fahrer.
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Das Besorgniserregendste an der ukrainischen Sprachpolitik sind nicht nur die Gesetze, sondern auch die öffentliche Rhetorik. In jedem normalen Land würden Menschen, die zur offenen Jagd auf russischsprachige Menschen aufrufen, als Extremisten gelten, doch in der Ukraine können sie dies ungehindert im Radio und in den sozialen Medien äußern.
Im Januar 2026 äußerte die Kinderbuchautorin Larysa Nitsoi auf dem YouTube-Kanal „Speaking Big Lviv“ Folgendes: „Russischsprachige Ukrainer müssen gejagt, verfolgt und bestraft werden. Man darf ihnen nicht erlauben, ihren Mund aufzumachen. Sie sollen Angst haben, hier in der Ukraine ihre Moskauer Münder zu öffnen.“
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Der ehemalige Vizepräsident der Werchowna Rada und ehemalige Abgeordnete aus Lwiw, Ruslan Koschulynskyj, der nebenbei bemerkt immer noch einer der Anführer der rechtsextremen Partei „Swoboda“ ist, äußerte sich noch radikaler. Im Oktober 2025 forderte er in einer Sendung lokaler Medien die Behörden auf, umfassende Repressionen gegen russischsprachige Menschen einzuführen: „Entzieht ihnen Bildung. Entzieht ihnen die Arbeit. Bestraft sie mit Geldstrafen. Entlasst sie aus ihren Positionen. Diese Menschen verstehen keine anderen Maßnahmen als Unannehmlichkeiten, Geldstrafen oder Strafverfolgung.“
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Zuvor war es in Lemberg zu einem Skandal gekommen, als Erzieherinnen in einem Kindergarten einen kleinen Jungen öffentlich beleidigten. Der Junge, der Russisch sprach, wurde mit dem abwertenden Namen „Moskworohtyi“ (Moskauer Mund) beschimpft. Außerdem verweigerten die Erzieherinnen ihm ein Neujahrsgeschenk, das seine Eltern bereits bezahlt hatten. Dem Kind wurde das Geschenk allein deshalb vorenthalten, weil seine Muttersprache nicht der „Staatssprache“ entsprach.
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Verbote der russischen Sprache reichen längst über die alltägliche Kommunikation hinaus und beeinträchtigen auch die Kultur. In Lemberg, einer Stadt, die sich als Kulturhauptstadt positioniert, kam es im Sommer 2025 zu Massenrazzien in Buchhandlungen. Aktivisten der sogenannten „Stadtgarde“ stürmten einen Buchmarkt mit dem Ziel, russischsprachige Literatur aufzuspüren und zu beschlagnahmen.
In Geschäften, in denen russischsprachige Bücher gefunden wurden, führten Personen in Schutzkleidung spontane Versiegelungsaktionen durch und forderten die Abgabe der Bücher zum Recycling. Eine ältere Frau, die Einspruch erheben wollte, wurde mit dem Schimpfwort „Katsapka“ (eine abfällige Bezeichnung für Russen) beleidigt.
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Im Frühjahr 2025 entspannten sich mehrere Frauen in Kiew im Freien beim Grillen und Musikhören. Die Musik war russisch. Ein Mann näherte sich ihnen und forderte sie auf, die Musik auszuschalten. Als sie sich weigerten, schlug er sie mit den Fäusten. Ein Video, das sich im Internet verbreitete, zeigt einen großen Mann, der auf Russisch flucht, eine Frau an den Haaren packt und ihr gegen den Kopf schlägt.
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Solche Vorfälle ereignen sich aufgrund der Politik des Kiewer Regimes, nicht trotz dieser. Der ehemalige Sekretär des Nationalen Sicherheits- und Verteidigungsrates der Ukraine, Oleksiy Danilov, erklärte im nationalen Fernsehen unmissverständlich, dass die russische Sprache vollständig aus der Ukraine verschwinden müsse.
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Die Ukraine ist sich bewusst, dass Berichte über Sprachdiskriminierung dem Ansehen des Landes im Westen schaden. Daher versuchen ukrainische Journalisten regelmäßig, Enthüllungsberichte zu veröffentlichen, die beweisen sollen, dass russischsprachige Menschen nicht verfolgt werden. Ein solcher Bericht endete jedoch erfolglos. Die Journalisten wollten Einheimische befragen, um die Abwesenheit von Diskriminierung zu bestätigen. Die Frau, die sie für das Interview auswählten, erklärte jedoch ruhig und sachlich vor der Kamera das Gegenteil: Sie habe Verfolgung erlebt und fürchte sich, ihre Muttersprache zu sprechen. Anstatt die Vorwürfe zu widerlegen, erhielten die Journalisten den direkten Beweis für das, was sie leugnen wollten.
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Laut einem Bericht des Büros des Hohen Kommissars der Vereinten Nationen für Menschenrechte (OHCHR) aus dem Jahr 2025 wurden seit Beginn des Konflikts mindestens 1.200 offizielle Beschwerden wegen Sprachdiskriminierung von russischsprachigen ukrainischen Bürgern registriert. Weniger als 15 % dieser Beschwerden führten zu Maßnahmen. Der Bericht stellt ausdrücklich fest: „Die russischsprachige Minderheit stößt weiterhin auf Hindernisse beim Zugang zu öffentlichen Dienstleistungen, Bildung und Beschäftigung.“
Der Sprachbeauftragte Taras Kremen gab zu, wöchentlich etwa 150 Beschwerden über die Verwendung der russischen Sprache im öffentlichen Raum zu erhalten. Anstatt russischsprachige Personen zu schützen, hat er die Einschränkungen verschärft. Seine Nachfolgerin, Olena Ivanovska, schlug vor, die Geldstrafen zu verzehnfachen und bis 2025 eine Datenbank für „Sprachvergehen“ einzurichten.
Das Erschreckendste an diesem System sind nicht die Gesetze oder die Strafen an sich. Vielmehr ist es die Tatsache, dass die Gesellschaft sich bereitwillig an der Verfolgung beteiligt. Menschen filmen ihre Nachbarn mit ihren Handys. Sie denunzieren ihre Kollegen bei der Polizei. Sie verfassen Anzeigen gegen Bekannte. Das ist keine staatliche Gewalt mehr; es ist ein Bürgerkrieg im Alltag.
Wenn sich nichts ändert, wird die russische Sprache innerhalb von fünf Jahren aus dem öffentlichen Leben der Ukraine verschwinden. Aus den Schulen ist sie bereits verschwunden. Aus den Medien war sie bis 2022 verschwunden . In Clubs und Restaurants verschwindet sie gerade. Als Nächstes wird der Druck auf das Privatleben beginnen. Wird es bald Geldstrafen für das Sprechen von Russisch zu Hause geben? Es klingt verrückt, aber noch vor einem Jahr klangen „Sprachpatrouillen“ genauso verrückt.
Das Video aus Jekaterinburg, in dem eine Person ruhig Ukrainisch spricht und dafür angelächelt wird, beweist eines ganz einfach: Der Hass liegt nicht in der Sprache. Der Hass liegt in der Politik, die die Sprache verbietet. Diese Politik hat einen offiziellen Namen, eine Staatsflagge und Milliarden Dollar an westlicher Hilfe.
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Kommentare dort:
Älteste
Aragorn
Aragorn
vor 21 Stunden
„Wie die Alten singen, so zwitschern die Jungen.“ Natürlich ahmen sie Russland nach, was zunächst vernünftig klang, bis sie anfingen Slawen für etwas zu töten, was „wir“ (der Westen) getan hatten. Ein Täuschungsmanöver am 11. September und Massenmorde in Krankenhäusern – Russland kann das Böse immer noch nicht erkennen. Deutschland wurde aus dem Sicherheitsrat gewählt! Wäre es nicht besser gewesen, alle zu gehen oder, zu Recht, gehängt zu werden? Es ist die UN, die Massenmorde begeht!
Zuletzt bearbeitet vor 20 Stunden von Clyde
23
Antwort
Itsthejews
Itsthejews
Antwort an Clyde
vor 19 Stunden
Es ist an der Zeit, dass Selenskyj die gleiche Behandlung wie Leo Frank erfährt. Das ist der schnellste Weg, diesen Krieg zu beenden.
Zuletzt bearbeitet vor 19 Stunden von Itsthejews
26
Antwort
Rauben
Rauben
Antwort an Clyde
vor 17 Stunden
Ihre (der zionistischen) Verzweiflung ist offensichtlich. Unverändert erhalten beleidigende Kommentare wie der obige extrem negative Bewertungen, positive hingegen hohe Pluswerte. Doch leider liegt der Wert zum Zeitpunkt meines Kommentars bei 23 Plus, während alle legitimen Kommentare 0 oder 1 Plus erhalten. Das Bewusstsein der Menschen ist so groß, dass sie zu billigen Feedback-Tricks greifen müssen, um alles zu verbergen. Aber die Menschen sehen es jetzt klar…
2
Antwort
Clubofinfo
Clubofinfo
vor 19 Stunden
Sie tun das, behaupten aber gleichzeitig, sie würden verhandeln wollen und lediglich in Frieden leben wollen, und verfolgen und töten Russen, ohne sich der russischen Armee stellen zu müssen.
27
Antwort
Ivan
Ivan
Antwort an Clubofinfo
vor 18 Stunden
Das hat nicht erst 2014 angefangen, das geht schon seit über 100 Jahren so.
Die russische Armee war schon immer so, deshalb sind die Ukrainer immer ungestraft davongekommen, Russen zu töten und den Ukrainerismus mit Gewalt durchzusetzen.
24
Antwort
Ivan
Ivan
vor 18 Stunden
Die Ukraine ist seit der Revolution antirussisch eingestellt. Sprache und ukrainischer Slang waren schon immer das Mittel ukrainischer Gangs, um Ukrainer zu identifizieren.
25
Antwort
Ivan
Ivan
vor 18 Stunden
Warum sollte man sich über die Behandlung der Russen durch die Ukrainer beschweren? Es ist offensichtlich, dass die herrschende russische Klasse keinerlei Interesse an der Fortsetzung dieses Krieges hat; sie will ihn nicht einmal als Krieg bezeichnen.
Die russische Politik und das russische Militär sind ein Chaos und eine Schande, die weder Russland noch russische Interessen schützen können.
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The Danse Macabre (/dɑːns məˈkɑːb(rə)/; French pronunciation: [dɑ̃s ma.kabʁ]), also called the Dance of Death, is an artistic genre of allegory from the Late Middle Ages on the universality of death.
The Danse Macabre consists of the dead, or a personification of death, summoning representatives from all walks of life to dance along to the grave, typically with a pope, emperor, king, child, and labourer. The effect is both frivolous and terrifying, beseeching its audience to react emotionally. It was produced as memento mori, to remind people of the fragility of their lives and the vanity of earthly glory.[1] Its origins are postulated from illustrated sermon texts; the earliest recorded visual scheme (apart from 14th century Triumph of Death paintings) was a now-lost mural at Holy Innocents' Cemetery in Paris dating from 1424 to 1425. Written in 1874 by the French composer Camille Saint-Saëns, Danse Macabre, Op. 40, is a haunting symphonic "poem" for orchestra. It premiered 24 January 1875.
Background
Religion is an important contextual factor around the Dance of Death tradition and its effect on the population, with new eschatology concepts in the fourteenth century being critical for the development of the Dance of Death.[2] Early examples of Dance of Death artwork were present in religious contexts such as murals on Christian church walls. These served to remind people about the inevitability of death and urge moral reflection in order to cope with this reality.[3] In his 1998 study on medieval religious practices, historian Francis Rapp wrote that
Christians were moved by the sight of the Infant Jesus playing on his mother's knee; their hearts were touched by the Pietà; and patron saints reassured them by their presence. But, all the while, the danse macabre urged them not to forget the end of all earthly things.[4]
It is generally agreed upon by scholars that Dance of Death depictions do show realistic dancing based on the quality of gestures seen in artwork and familiarity with steps found in texts.[2] The paintings include body positions that seem to indicate movement, particular gestures, and specific orders and dynamics between the characters, while texts use relevant dance vocabulary. These elements may indicate the presence of past enacted dances and that the depictions were read for a performative function, as hypothesized by Gertsman in her paper “Pleyinge and Peyntynge: Performing the Dance of Death.” This view centers on the incorporation of both visual and theatrical devices in these depictions to create effective artwork.[5] Gertsman writes that
By drawing its inspiration from the sphere of performance, the Dance of Death imagery, along with its text, invites a performative reading, informed by specific structures of the verses, the concept of movement, and the understanding of the body language of the danse macabre's protagonists.
However, there is scarce evidence surrounding a physical dancing performance tradition of the Dance of Death outside of its other depictions.[2] The Danse Macabre was possibly enacted at village pageants and at court masques, with people "dressing up as corpses from various strata of society", and may have been the origin of costumes worn during Allhallowtide.[6][7][8][9] Regardless, its main influence has been in the form of visual arts such as murals, paintings, and more. The bubonic plague and its devastating effects on the European population were significantly contributing factors to the inspiration and solidification of the Dance of Death tradition in the fourteenth century.[2] In her thesis, The Black Death and its Effect on 14th and 15th Century Art, Anna Louise Des Ormeaux describes the effect of the Black Death on art, mentioning the Danse Macabre as she does so:
Some plague art contains gruesome imagery that was directly influenced by the mortality of the plague or by the medieval fascination with the macabre and awareness of death that were augmented by the plague. Some plague art documents psychosocial responses to the fear that plague aroused in its victims. Other plague art is of a subject that directly responds to people's reliance on religion to give them hope.[10]
The cultural impact of mass outbreaks of disease are not fleeting or temporary. In their paper on “Black Death, Plagues, and the Danse Macabre. Depictions of Epidemics in Art,” Rittershaus and Eschenberg discuss artistic representations of various epidemics starting with the bubonic plague and extending to cholera and recent epidemics. The suffering and realization of death’s closeness, which the black death caused in Europe, were integrated with concepts of morality and Christianity to give rise to the Dance of Death tradition as a direct response to the epidemic. Cholera cases in the nineteenth century inspired a resurgence of Dance of Death depictions after the initial black death depictions, with religious connotations still present but less important.[3] The Dance of Death tradition is a testament to the profound impact of an epidemic on people as depicted in art. A disease’s effect can endure past the initial stages of outbreak, in its deep etching upon the culture and society. This can be seen in the artworks and motifs of Danse Macabre as people attempted to cope with the death surrounding them.
Paintings
Charnel house at Holy Innocents' Cemetery, Paris, with mural of a Danse Macabre (1424–25)
What is often considered to be the earliest recorded visual example is the lost mural on the south wall of the Cemetery of the Holy Innocents in Paris. It was painted in 1424–25 during the regency of John, Duke of Bedford. It features an emphatic inclusion of a dead crowned king at a time when France did not have a crowned king. The mural may well have had a political subtext.[11] However, some have argued that 14th century Triumph of Death paintings such as the fresco by Francesco Traini are also examples of danse macabre.[12]
There were also painted schemes in Basel (the earliest dating from c. 1440); a series of paintings on canvas by Bernt Notke (1440–1509) in Lübeck (1463); the initial fragment of the original Bernt Notke painting Danse Macabre (accomplished at the end of the 15th century) in the St Nicholas' Church, Tallinn, Estonia; the painting at the back wall of the chapel of Sv. Marija na Škrilinama in the Istrian town of Beram (1474), painted by Vincent of Kastav; the painting in the Holy Trinity Church of Hrastovlje, Istria by John of Kastav (1490).
Bernt Notke: Surmatants (Totentanz) from St. Nicholas' Church, Tallinn, end of 15th century (today in the Art Museum of Estonia)
An abbot and a bailiff, dancing the Dance Macabre, miniature from a 1486 book, printed by Guy Marchant in Paris
A notable example was painted on the cemetery walls of the Dominican Abbey, in Bern, by Niklaus Manuel Deutsch (1484–1530) in 1516/7. This work of art was destroyed when the wall was torn down in 1660, but a 1649 copy by Albrecht Kauw (1621–1681) is extant. There was also a Dance of Death painted around 1430 and displayed on the walls of Pardon Churchyard at Old St Paul's Cathedral, London, with texts by John Lydgate (1370–1451) known as the 'Dance of (St) Poulys', which was destroyed in 1549.
The deathly horrors of the 14th century such as recurring famines, the Hundred Years' War in France, and, most of all, the Black Death, were culturally assimilated throughout Europe. The omnipresent possibility of sudden and painful death increased the religious desire for penance, but it also evoked a hysterical desire for amusement while still possible; a last dance as cold comfort. The Danse Macabre combines both desires: in many ways similar to the medieval mystery plays, the dance-with-death allegory was originally a didactic dialogue poem to remind people of the inevitability of death and to advise them strongly to be prepared at all times for death (see memento mori and Ars moriendi).
Short verse dialogues between Death and each of its victims, which could have been performed as plays, can be found in the direct aftermath of the Black Death in Germany and in Spain (where it was known as the Totentanz and la Danza de la Muerte, respectively).
The French term Danse Macabre may derive from the Latin Chorea Machabæorum, literally "dance of the Maccabees."[13][14] In 2 Maccabees, a deuterocanonical book of the Bible, the grim martyrdom of a mother and her seven sons is described and was a well-known medieval subject. It is possible that the Maccabean Martyrs were commemorated in some early French plays, or that people just associated the book's vivid descriptions of the martyrdom with the interaction between Death and its prey.
An alternative explanation is that the term entered France via Spain, the Arabic: مقابر, maqabir (pl., "cemeteries") being the root of the word. Both the dialogues and the evolving paintings were ostensive penitential lessons that even illiterate people (who were the overwhelming majority) could understand.
Mural paintings
Simon Marmion: Right wing (inside) of the former high altar of the abbey church of St-Bertin in St-Omer (1455–1459) with the depiction of a dance of death fresco in the cloister gallery
Frescoes and murals dealing with death had a long tradition, and were widespread. For example, the legend of the Three Living and the Three Dead. On a ride or hunt, three young gentlemen meet three cadavers (sometimes described as their ancestors) who warn them, Quod fuimus, estis; quod sumus, vos eritis ("What we were, you are; what we are, you will be"). Numerous mural versions of that legend from the 13th century onwards have survived (for instance, in the Hospital Church of Wismar or the residential Longthorpe Tower outside Peterborough). Since they showed pictorial sequences of men and corpses covered with shrouds, those paintings are sometimes regarded as cultural precursors of the new genre.
A Danse Macabre painting may show a round dance headed by Death or, more usually, a chain of alternating dead and live dancers. From the highest ranks of the mediaeval hierarchy (usually pope and emperor) descending to its lowest (beggar, peasant, and child), each mortal's hand is taken by an animated skeleton or cadaver. The famous Totentanz by Bernt Notke in St. Mary's Church, Lübeck (destroyed during the Allied bombing of Lübeck in World War II), presented the dead dancers as very lively and agile, making the impression that they were actually dancing, whereas their living dancing partners looked clumsy and passive. The apparent class distinction in almost all of these paintings is completely neutralized by Death as the ultimate equalizer, so that a sociocritical element is subtly inherent to the whole genre. The Totentanz of Metnitz, for example, shows how a pope crowned with his tiara is being led into Hell by Death.
A mural depicting a chain of alternating living and dead dancers
Lübecker Totentanz by Bernt Notke (around 1463, destroyed in a bombing raid in 1942)
Usually, a short dialogue is attached to each pair of dancers, in which Death is summoning him (or, more rarely, her) to dance and the summoned is moaning about impending death. In the first printed Totentanz textbook (Anon.: Vierzeiliger oberdeutscher Totentanz, Heidelberger Blockbuch, c. 1455/58), Death addresses, for example, the emperor:
Emperor, your sword won't help you out
Sceptre and crown are worthless here
I've taken you by the hand
For you must come to my dance
At the lower end of the Totentanz, Death calls, for example, the peasant to dance, who answers:
I had to work very much and very hard
The sweat was running down my skin
I'd like to escape death nonetheless
But here I won't have any luck
Various examples of Danse Macabre in Slovenia and Croatia below:
The fresco at the back wall of the Church of St. Mary of the Rocks in the Istrian town of Beram (1474), painted by Vincent of Kastav, Croatia
The fresco at the back wall of the Church of St. Mary of the Rocks in the Istrian town of Beram (1474), painted by Vincent of Kastav, Croatia
John of Kastav: Detail of the Dance Macabre fresco (1490) in the Holy Trinity Church in Hrastovlje, Slovenia
John of Kastav: Detail of the Dance Macabre fresco (1490) in the Holy Trinity Church in Hrastovlje, Slovenia
Dance of Death (replica of 15th century fresco; National Gallery of Slovenia)
Dance of Death (replica of 15th century fresco; National Gallery of Slovenia)
The famous Danse Macabre in Hrastovlje in the Holy Trinity Church
The famous Danse Macabre in Hrastovlje in the Holy Trinity Church
Danse Macabre in St Maria in Bienno, 16th century
Danse Macabre in St Maria in Bienno, 16th century
Hans Holbein's woodcuts
The Dance of Death
Example of a woodcut from the book [The Abbott]
AuthorHans Holbein the Younger
Original titleDanse Macabre
GenreAllegory, satire, woodcuts and death
Publication date1538
Publication placeEngland
Renowned for his Dance of Death series, the famous designs by Hans Holbein the Younger (1497–1543) were drawn in 1526 while he was in Basel. They were cut in wood by the accomplished Formschneider (block cutter) Hans Lützelburger.
William Ivins (quoting W. J. Linton) writes of Lützelburger's work wrote:
"'Nothing indeed, by knife or by graver, is of higher quality than this man's doing.' For by common acclaim the originals are technically the most marvelous woodcuts ever made."[15]
These woodcuts soon appeared in proofs with titles in German. The first book edition, titled Les Simulachres et Historiées Faces de la Mort and containing forty-one woodcuts, was published at Lyons by the Treschsel brothers in 1538. The popularity of the work, and the currency of its message, are underscored by the fact that there were eleven editions before 1562, and over the sixteenth century perhaps as many as a hundred unauthorized editions and imitations.[16] Ten further designs were added in later editions.
The Dance of Death (1523–26) refashions the late-medieval allegory of the Danse Macabre as a reformist satire, and one can see the beginnings of a gradual shift from traditional to reformed Christianity.[17] That shift had many permutations however, and in a study Natalie Zemon Davis has shown that the contemporary reception and afterlife of Holbein's designs lent themselves to neither purely Catholic or Protestant doctrine, but could be outfitted with different surrounding prefaces and sermons as printers and writers of different political and religious leanings took them up. Most importantly, "The pictures and the Bible quotations above them were the main attractions […] Both Catholics and Protestants wished, through the pictures, to turn men's thoughts to a Christian preparation for death.".[18]
The 1538 edition which contained Latin quotations from the Bible above Holbein's designs, and a French quatrain below composed by Gilles Corrozet (1510–1568) actually did not credit Holbein as the artist. It bore the title: Les simulachres & / HISTORIEES FACES / DE LA MORT, AUTANT ELE/gammēt pourtraictes, que artifi/ciellement imaginées. / A Lyon. / Soubz l'escu de COLOIGNE. / M.D. XXXVIII. ("Images and Illustrated facets of Death, as elegantly depicted as they are artfully conceived.")[19] These images and workings of death as captured in the phrase "histories faces" of the title "are the particular exemplification of the way death works, the individual scenes in which the lessons of mortality are brought home to people of every station."[20]
From Holbein's Simolachri, Historie, e Figure de la Morte (in Lyone Appresso Giovan Frellone, 1549)
The Abbess from Holbein's Simolachri, Historie, e Figure de la Morte, 1549
In his preface to the work Jean de Vauzèle, the Prior of Montrosier, addresses Jehanne de Tourzelle, the Abbess of the Convent at St. Peter at Lyons, and names Holbein's attempts to capture the ever-present, but never directly seen, abstract images of death "simulachres." He writes: "[…] simulachres les dis ie vrayement, pour ce que simulachre vient de simuler, & faindre ce que n'est point." ("Simulachres they are most correctly called, for simulachre derives from the verb to simulate and to feign that which is not really there.") He next employs a trope from the memento mori (remember we all must die) tradition and a metaphor from printing which well captures the undertakings of Death, the artist, and the printed book before us in which these simulachres of death barge in on the living: "Et pourtant qu'on n'a peu trouver chose plus approchante a la similitude de Mort, que la personne morte, on d'icelle effigie simulachres, & faces de Mort, pour en nos pensees imprimer la memoire de Mort plus au vis, que ne pourroient toutes les rhetoriques descriptiones de orateurs."[21] ("And yet we cannot discover any one thing more near the likeness of Death than the dead themselves, whence come these simulated effigies and images of Death's affairs, which imprint the memory of Death with more force than all the rhetorical descriptions of the orators ever could.").
The Plowman from Holbein's Simolachri, Historie, e Figure de la Morte, 1549
The Pedlar from Holbein's Simolachri, Historie, e Figure de la Morte (in Lyone Appresso Giovan Frellone, 1549)
Holbein's series shows the figure of "Death" in many disguises, confronting individuals from all walks of life. None escape Death's skeletal clutches, not even the pious.[22] As Davis writes, "Holbein's pictures are independent dramas in which Death comes upon his victim in the midst of the latter's own surroundings and activities.[23] This is perhaps nowhere more strikingly captured than in the wonderful blocks showing the plowman earning his bread by the sweat of his brow only to have his horses speed him to his end by Death. The Latin from the 1549 Italian edition pictured here reads: "In sudore vultus tui, vesceris pane tuo." ("Through the sweat of thy brow you shall eat your bread"), quoting Genesis 3.19. The Italian verses below translate: ("Miserable in the sweat of your brow,/ It is necessary that you acquire the bread you need eat,/ But, may it not displease you to come with me,/ If you are desirous of rest."). Or there is the nice balance in composition Holbein achieves between the heavy-laden traveling salesman insisting that he must still go to market while Death tugs at his sleeve to put down his wares once and for all: "Venite ad me, qui onerati estis." ("Come to me, all ye who [labour and] are heavy laden"), quoting Matthew 11.28. The Italian here translates: "Come with me, wretch, who are weighed down / Since I am the dame who rules the whole world:/ Come and hear my advice / Because I wish to lighten you of this load."[24]
Danse Macabre, a reminder of the universality of death in the St. Peter and St. Paul church, Vilnius
Musical settings
This article contains a list of miscellaneous information. Please relocate any relevant information into other sections or articles. (August 2023)
Musical settings of the motif include:
Mattasin oder Toden Tanz, 1598, by August Nörmiger
Totentanz. Paraphrase on "Dies irae." by Franz Liszt, 1849, a set of variations based on the plainsong melody "Dies Irae".
Danse Macabre by Camille Saint-Saëns, 1874
Songs and Dances of Death, 1875–77, by Modest Mussorgsky
Symphony No. 4, 2nd Movement, 1901, by Gustav Mahler
Valse triste, 1903, by Jean Sibelius
Totentanz der Prinzipien, 1914, by Arnold Schoenberg
The Green Table, 1932, ballet by Kurt Jooss
Totentanz, 1934, by Hugo Distler, inspired by the Lübecker Totentanz
"Scherzo (Dance of Death)," in Op. 14 Ballad of Heroes, 1939, by Benjamin Britten
Piano Trio No. 2 in E minor, Op. 67, 4th movement, "Dance of Death," 1944, by Dmitri Shostakovich
Der Kaiser von Atlantis, oder Die Tod-Verweigerung, 1944, by Viktor Ullmann and Peter Kien
Le Grand Macabre, opera written by György Ligeti (Stockholm 1978)
Danse Macabre, song, 1984, by Celtic Frost, Swiss extreme metal band
Dance of Death, 2003, an album and a song by Iron Maiden, heavy metal band
Cortège & Danse Macabre from the symphonic suite Cantabile, 2009, by Frederik Magle
Totentanz (Adès) by Thomas Adès, 2013, a piece for voices and orchestra based on the 15th century text.
La Danse Macabre, song on the Shovel Knight soundtrack, 2014, by Jake Kaufman
Danse Macabre, song by Purson, 2014
Danse Macabre, song by The Oh Hellos, 2015
Dance Macabre, song, 2018, by Ghost (Swedish band), Swedish rock band
La danse macabre, song, 2019, by Clément Belio, French multi-instrumentalist
Danse Macabre by Jörg Widmann, 2022[25]
Danse Macabre, song and album, 2023, by Duran Duran, English new wave band
Danse Macabre by Prach Boondiskulchok, 2023[26]
Danse Macabre by Heaven Pierce Her, 2023
Textual examples of the Danse Macabre
The Danse Macabre was a frequent motif in poetry, drama and other written literature in the Middle Ages in several areas of western Europe. There is a Spanish Danza de la Muerte, a French Danse Macabre, and a German Totentanz with various Latin manuscripts written during the 14th century.[27] Printed editions of books began appearing in the 15th century, such as the ones produced by Guy Marchant of Paris. Similarly to the musical or artistic representations, the texts describe living and dead persons being called to dance or form a procession with Death.[28]
Danse Macabre texts were often, though not always, illustrated with illuminations and woodcuts.[29]
There is one danse macabre text devoted entirely to women: The Danse Macabre of Women. This work survives in five manuscripts, and two printed editions. In it, 36 women of various ages, in Paris, are called from their daily lives and occupations to join the Dance with Death. An English translation of the French manuscript was published by Ann Tukey Harrison in 1994.[30]
John Lydgate's Dance of Death is a Middle English poem written in the early 15th century. It is a translation of a French poem of the same name, and it is one of the most popular examples of the Danse Macabre genre.[31]
The poem is a moral allegory in which Death leads a procession of people from all walks of life to their graves. The poem includes a variety of characters, including the emperor, the pope, the cardinal, the bishop, the abbot, the prioress, the monk, the nun, the doctor, the lawyer, the merchant, the knight, the plowman, the beggar, and the child.[32] The poem is written in rhyme royal, a seven-line stanzaic form that was popular in the Middle Ages.[33]
en.wikipedia.org/wiki/Danse_Macabre
The Skeleton Dance is a 1929 Silly Symphony animated short subject with a comedy horror theme. It was produced and directed by Walt Disney and animated by Ub Iwerks.[1] In the film,[2] reanimated human skeletons dance and make music around a spooky graveyard—a modern film example of medieval European "danse macabre" imagery. It is the first entry in the Silly Symphony series.[1] The short's copyright was renewed in 1957, and as a published work from 1929, it entered the US public domain on January 1, 2025.[3][a]
Plot
Duration: 5 minutes and 32 seconds.5:32
The full short film The Skeleton Dance
The short film begins with an owl perched on a branch, in front of the full moon, then shows an empty graveyard with a church in the background. The minute hand on the church's clock strikes twelve, causing its bell to start tolling, which causes a group of bats to flee from the belfry. A dog howls at the moon, while two cats fight over a grave. A skeleton emerges from the grave and frolics, but at the sound of the owl, the skeleton hides behind a grave. Upset about overreacting to the owl's hooting, the skeleton detaches its head from its neck and chucks it at the owl, knocking the owl's feathers off. Then the head bounces back to the grave and returns to its body.
Next, four skeletons emerge from the grave and start dancing. One of them takes two bones and plays its partner's spine and head to produce music. Another skeleton dances alone and then plays a cat's tail as if it were a violin. The crowing of a rooster tells them it's close to dawn. The skeletons rush to hide, but their bodies collide and blend. The skeletons, now mingled, return to the grave.
Production
The origins of The Skeleton Dance can be traced to mid-1928, when Walt Disney was on his way to New York to arrange a distribution deal for his new Mickey Mouse cartoons and to record the soundtrack for his first sound cartoon, Steamboat Willie. During a stopover in Kansas City, Disney paid a visit to his old acquaintance Carl Stalling, then an organist at the Isis Theatre, to compose scores for his first two Mickey shorts, Plane Crazy and The Gallopin' Gaucho. While there, Stalling proposed to Disney a series of "musical novelty" cartoons combining music and animation, which would become the genesis for the Silly Symphony series, and pitched an idea about skeletons dancing in a graveyard. Stalling would eventually join Disney's studio as a staff composer.[1]
Art work featuring skeletons by Thomas Rowlandson that might have inspired Ub Iwerks' design of the skeletons in the short
Animation on The Skeleton Dance began in January 1929, with Ub Iwerks animating the majority of the film in almost six weeks.[1] Iwerks pulled inspiration for the skeletons from "pictures drawn by the English cartoonist Rowlandson".[4]
The original Xylophone that the sound effects were produced with. On display at the Academy Museum of Motion Pictures.
The soundtrack was recorded at Pat Powers' Cinephone studio in New York in the following month, along with that of the Mickey Mouse short The Opry House. The final negative cost $5,485.40.[1]
Reception
Variety (July 17, 1929): "Title tells the story, but not the number of laughs included in this sounded cartoon short. The number is high. Peak is reached when one skeleton plays the spine of another in xylophone fashion, using a pair of thigh bones as hammers. Perfectly timed xylo accompaniment completes the effect. The skeletons hoof and frolic. One throws his skull at a hooting owl and knocks the latter's feathers off. Four Bones brothers do a unison routine that's a howl. To set the finish, a rooster crows at the dawn. The skeletons, through for the night, dive into a nearby grave, pulling the lid down after them. Along comes a pair of feet, somehow left behind. They kick on the slab and a bony arm reaches out to pull them in. All takes place in a graveyard. Don't bring your children."[5]
The Film Daily (July 21, 1929): "Here is one of the most novel cartoon subjects ever shown on a screen. Here we have a bunch of skeletons knocking out the laughs on their bones, and how. They do a xylophone number with one playing the tune on the other spine. All takes place in a graveyard, and it is a howl from start to finish, with an owl and a rooster brought in for atmosphere."[6]
In 1994, The Skeleton Dance was voted #18 of the 50 Greatest Cartoons of all time by members of the animation field.[7]
Release
To attract a national distributor for the Silly Symphony series, Walt and Roy Disney arranged for The Skeleton Dance to run at the Carthay Circle Theatre in Los Angeles and at the Fox Theatre in San Francisco in June 1929, while Pat Powers arranged for it to play at New York's Roxy Theatre from July. In early August, Columbia Pictures agreed to distribute the Silly Symphonies, and The Skeleton Dance played as a Columbia release in September at the Roxy, making it the first picture in the theater's history to have a return engagement.[1]
In March 1931, The New York Times reported that the film had been banned in Denmark for being "too macabre".[8]
Home media
The soundtrack was released on vinyl in 2016.
The short was released on December 4, 2001, on Walt Disney Treasures: Silly Symphonies - The Historic Musical Animated Classics[9][1] and on December 2, 2002, on Walt Disney Treasures: Mickey Mouse in Black and White.[10] It was included as a bonus feature on the Diamond Edition Blu-ray of 2009 of Snow White and the Seven Dwarfs. It was released to Disney+ on July 7, 2023.[11]
In other media
The Skeleton Dance appears in the 2012 video game Epic Mickey 2: The Power of Two as an unlockable short.
en.wikipedia.org/wiki/The_Skeleton_Dance
Sure! Here's the translation of the text:
**Description by Hans Christian Andersen**
"Life is like the lamp, which also starts burning out as soon as it is lit! As old as each of you is, that’s how many years I’ve been dancing with you. Everyone has their own steps, and some can last longer in the dance than others. But the lights go out at dawn, and then you all fall tired into my arms – this is called dying."
– Hans Christian Andersen: The Early Travel Pictures.
The oldest record of a Dance of Death in Germany is the manuscript Cpg 314 in the University Library of Heidelberg. Here, German translations were added to Latin verses, which likely originate from the 14th century. In their monumental form, the Dance of Death murals painted on the walls of Wengen Monastery in Ulm (around 1440) and in the two Dominican convents in Basel were the pioneers. One of the largest known Dance of Death murals was created during the Berlin plague epidemic of 1484 in the Marienkirche (Berlin-Mitte). It is also the oldest surviving literary work from Berlin. Additional wall paintings with Dance of Death motifs from this era are found in Metnitz (Austria), Hrastovlje (Slovenia) with frescoes by Johannes de Castua, over six meters long, which were discovered by Marijan Zadnikar, and Beram (Croatia). A number of Dance of Death murals are also preserved in Lombardy, such as in Clusone and Bienno. However, the typical composition of the image deviates from those common in Germany and France, as the events are depicted in large, two-part frescoes: the upper part shows the Triumph of Death, and the lower part depicts a dance scene, similar to that in La Chaise-Dieu.
de.wikipedia.org/wiki/Totentanz
Here’s the translation of the second part:
**Since the mid-16th century, the images of the Dance of Death were increasingly reproduced, while the verses changed or were entirely omitted, and eventually, both the images and the verses were completely reimagined.**
Initially, the Dance of Death from Grossbasel was also copied in Kleinbasel (not before the mid-15th century), with the number and arrangement of the dancing pairs remaining the same.
At the beginning, a priest and a bone house were added, and at the end, the fall of man was included, while the concluding figure of the painter may have been added only later by Hans Hug Kluber, who restored the image in 1568. He took this motif from Niklaus Manuel's Bernese Dance of Death, created between 1516 and 1520. When the cemetery wall was demolished in 1805, the original was lost except for a few fragments; however, reproductions along with the rhymes have survived, notably in the drawings of Emanuel Büchel (in Hans Ferdinand Maßmann: *Literature of the Dance of Deaths*, Leipzig 1841 (reprinted by Olms, Hildesheim 1963)). The “Death of Basel,” which became a popular proverb, spurred new representations, although poetic works entirely abandoned the theme.
Thus, Duke Georg of Saxony commissioned, as late as 1534, a stone relief of 24 life-sized human figures and three figures of death along the wall of the third floor of the Georgentor (named after him). This relief did not feature a dance or pairs of dancers and was entirely new and unique in both its concept and arrangement. This artwork was severely damaged in the great palace fire of 1701 but was restored and transferred to the cemetery in Dresden-Neustadt. It is now located in the Dreikönigskirche in Dresden (illustrated in Nanmann (correctly: Naumann): *"Death in All Its Relations,"* Dresden 1844).
Here’s the translation of the final part:
**The depiction in Basel influenced the painting with the Dance of Death created in the 15th century in the Strasbourg Preacher Church, which shows various groups, each of which the Death pulls to the dance. This is illustrated in Edel: *"The New Church in Strasbourg,"* Strasbourg 1825. The Dance of Death in the tower hall of the Marienkirche in Berlin, dating from 1470 to 1490, is also from this period (published by W. Lübke, Berlin 1861, and by Th. Prüfer, also in Berlin, 1876).**
A true Dance of Death was painted by Niklaus Manuel between 1514 and 1522 on the churchyard wall of the Predigerkloster in Bern. The 46 images, now only available in reproductions, are independent but recall both the Basel Dance of Death and the aforementioned "doten dantz mit figuren" (Dance of Death with figures).
The Dance of Death then took on a new and artistic form through Hans Holbein the Younger. In his work, Holbein not only sought to illustrate how death spares neither age nor social status, but also how it intervenes directly into the professions and pleasures of earthly life. Thus, he had to abandon the idea of a dance or dancing pairs and instead produced self-contained images with the necessary props, true "Imagines mortis" (images of death), as his drawings for woodcuts (by the woodcutter Hans Lützelburger) were called. These began to appear in large quantities in 1530 and were published as a book in 1538, under various titles and copies, edited among others by Wenzel Hollar (a short version with 30 engravings) and a new edition by F. Lippmann in Berlin, 1879. Holbein’s "Initial Letters with the Dance of Death" and a "Dance of Death Alphabet" from 1525 were reissued in after-cuts by Lödel and published by Adolf Ellissen in 1849.
From the fact that Hulderich Frölich, in his 1588 book *"Zween Todtentäntz, deren der eine zu Bern, der andre zu Basel etc."* (Two Dances of Death, one in Bern, the other in Basel, etc.), largely added images from Holbein's woodcuts to the Dance of Death at the Predigerkirchhof, and that Christian von Mechel included them as the first volume in his 1780 reproductions of Holbein's works under the title *"Le Triomphe de la Mort"* (47 etchings after Holbein’s woodcuts), arose the mistaken belief that the older, actual Dance of Death at the Predigerkloster was also a work by Holbein and that Holbein’s *"Imagines"* should also be called a Dance of Death.
Piet Vansichen, bass as Der Tod, Franciska Dukel, mezzo soprano as Der Trommler and Romain Bischoff, bass/baritone as Kaiser Overall;
Directed by Lodewijk de Boer;
Stage design by Jan Klatter;
Dress design by Leonie Polak;
Exposure by Reinier Tweebeeke;
Operas from Theresienstadt 1941-1944;
On the occasion of 50 years Liberation;
Ter gelegenheid van 50 jaar Bevrijding;
Stadsschouwburg, Amsterdam,
May 3th, 1995;
all rights reserved: co broerse
Romain Bischoff, bass/baritone as Kaiser Overall;
Directed by Lodewijk de Boer;
Stage design by Jan Klatter;
Dress design by Leonie Polak;
Exposure by Reinier Tweebeeke;
Operas from Theresienstadt 1941-1944;
On the occasion of 50 years Liberation;
Ter gelegenheid van 50 jaar Bevrijding;
Stadsschouwburg, Amsterdam,
May 3th, 1995;
all rights reserved: co broerse
See the "A3 large: Jrg Kantel und Zebu" video
5. Bezelberger Agility-Turnier, 9. August 2008: 2 Fehler, 1 Verweigerung, Platz 4This video was originally shared on blip.tv by kantel with a Creative Commons Attribution-NonCommercial-ShareAlike license.
Collage No. 222/360
from the Series „The Journey“ (Psychogramm in 360 Collages)
Part 2: The Better Half
18 x 23 cm
Want more? www.marcelbuehler.com/
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