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the clown invites us into a few hours of the life of one hans schneir, clown by profession, curmudgeon by temperament after our drunken atheist clown (with the uncanny ability to smell people through the phoneline) refuses to convert to catholicism, the love o' his life hightails it the hell outta there for some dullasdirt churchgoer heartbroken, pfennigless, drunk, jobless, and with a knee swollen to the size of a grapefruit, hans takes out his misery and anger the way we all do: inappropriate phone calls to family members, clergymen, and old friends/enemies most interesting is how boll keeps the reader constantly shifting between two poles: is hans the ultimate outsider in a corrupt rotting society, the only one capable of seeing to the core of man's diseased heart? or is he the crank who demands infallibility from a world of mere human beings? written less than two decades after the closing of auschwitz and dachau the book's relevance extends well beyond the mere personal.so why only three stars? well, the enjoyability factor was inconsistent yeah, the perennial question: must art be enjoyable or entertaining to succeed? i'm not sure for the most part i'd say yes, but does this, then, give a free pass to reject something which requires the reader/viewer/listener to work too hard? there were passages sections and chapters of the clown which flew by, others wereof a chore unnecessarily ( that right there's the rub if a work feels an unnecessary chore, it suffers if the hard work involved in, say, warhol's sleep, feels integral to the piece, it succeeds although that might be a bad example: i suspect warhol never intended a soul to actually sit through sleep the mere fact of its existence is all that matters.)the best of these stories manage to simultaneously serve as history lesson (and usually illuminate a specific time/place in a way nonfiction can't touch; that is, they allow us to know how it felt to live there rather than hit us with a barrage of cold facts) while also offering some kind of relevance to our own time one may argue that a work need not reach beyond the barriers of its own pages i defer to the mozzer:Burn down the disco.Hang the blessed DJ.Because the music that they constantly play,IT SAYS NOTHING TO ME ABOUT MY LIFE!for a work to transcend itself it must strike out, in some manner, beyond its own self and own time: the specific must translate into some kind of universal and, yeah, boll's contempt for and irreverence toward the clergy, the military, patriotism, etc, is something universal and attractive; and those big issues of guilt and forgiveness are always relevant but it doesn't arrive as feeling anything larger than the sum of its parts orthan a very specific anger and/or guilt why? i'm not sure as i loathe not understanding how and why i react to something, i'm tempted to come up with some kinda nicesounding reason and forcefully declare it, but that'd be wildly disingenuous i'm not exactly sure why boll's work (perhaps its the intentional distance he keeps us from his protagonist? the emotional coldness throughout the book?) didn't punch me in the gut and why, say, genet does with genet one is immediately struck by how this self professed queercowardcriminaltraitorliarthief running around german occupied france or a prison or palestine or berkeley speaks so directly to his/her life no matter where or when its read a spectral hand reaches from the grave and across the decades and it matters to me now it 'says everything to me about my life' but boll fascinates me the clown fascinated me i'm gonna read billiards at half past nine sometime soon. ENGLISH (The Clown) / ITALIANO«It was dark by the time I reached Bonn, and I forced myself not to succumb to the series of mechanical actions which had taken hold of me in five years of traveling back and forth: down the station steps, up the station steps, put down my suitcase, take my ticket out of my coat pocket, pick up my suitcase, hand in my ticket, cross over to the newsstand, buy the evening papers, go outside, and signal for a taxi Almost every day for five years I had left for somewhere and arrived somewhere; in the morning I had gone up station steps and down again, in the afternoon down the steps and up again, signaled for a taxi, felt in my pockets for money to pay for my ticket, bought evening papers at kiosks, and savored in a corner of my mind the studied casualness of these mechanical actions Ever since Marie left me to marry Züpfner, that Catholic, these actions have becomemechanical than ever, but without losing any of their casualness» Bonn Hans Schnier, by profession, is a clown, but he also owns the innate art of selfloathing Particularly, he is constantly haunted by the end of his relationship with Maria The obsession and the nonacceptance of this abandonment are taking him to reliving his past over and over again, instead of moving on.Feature of the novel: every character is guilty of something All is mean This helps to frame the misery of the postNazi Germany.Vote: 8«Era già buio quando arrivai a Bonn Feci uno sforzo per non dare al mio arrivo quel ritmo di automaticità che si è venuto a creare in cinque anni di continuo viaggiare: scendere le scale della stazione, risalire altre scale, deporre la borsa da viaggio, levare il biglietto dalla tasca del soprabito, consegnare il biglietto, dirigersi verso l'edicola dei giornali, comprare le edizioni della sera, uscire, far cenno a un tassì Per cinque anni quasi ogni giorno sono partito da qualche luogo, la mattina ho disceso e salito scale di stazioni, il pomeriggio ho disceso e risalito scale di stazioni, ho chiamato un tassì, ho cercato la moneta nella tasca della giacca per pagare la corsa, ho comperato giornali della sera alle edicole e, in un angolo riposto del mio io, ho gustato la scioltezza perfettamente studiata di questo automatismo Da quando Maria mi ha lasciato per sposare Züpfner, quel cattolico, il ritmo è diventato ancor più meccanico, senza perdere in scioltezza» Bonn Hans Schnier fa il clown di professione, ma possiede anche l'innata arte dell'autocommiserazione In particolare è costantemente tormentato dalla fine della sua relazione con Maria L'ossessione e la non accettazione di questo abbandono portano il protagonista a rianalizzare costantemente il proprio passato, invece di superarlo.Caratteristica del romanzo: ogni personaggio è colpevole di qualcosa Tutto è meschino Questo aiuta ad inquadrare meglio la miseria della Germania postnazista.Voto: 8 “What kind of a human being are you?”“I am a clown, and I collect moments!” “I collect moments …” Hans is an exceptional human being He is completely subjective in every single action and emotion He refuses to accept standards and norms that are forced upon him by the establishment, and he always follows his own heart and ethical values That spells trouble in the environment of corporate mentality where he grows up As a child, he witnesses the collective thinking of his privileged family, adapting wholeheartedly to Nazi Germany not necessarily out of fanaticism, but out of opportunism He sees his own 16yearold sister leave forever in the last war effort, and he never forgives his mother for encouraging her to go, to sacrifice herself for the “blood and soil” of Germany He won’t allow his mother to forget her past later, when she makes a political Uturn and works on a postwar political committee for racial integration He is terrified by the ease with which other former fanatic Nazis start careers in democratic institutions, and he passionately reminds them of their hypocrisy When asked what a clown is, and wherein his comical talent lies, he replies that he shows people an abstract mirror of who they are The comical effect is based on the recognition of truth underneath the mask For his profession as a travelling clown, his skill is greatly appreciated, but in real life, he fails brutally because he sees through the mask of corporate thinking.While the Nazi doctrine looms over his childhood, his worst struggle is against empowered religion in postwar Germany: the allencompassing Catholic church which dictates social norms and behaviours Hans loses his partner, a deeply religious and confused young woman, because he can’t fake honest belief and won’t bow to the dictatorship of church and state to satisfy their moral dogma As he is reluctant to sign a paper promising that his future children will be raised in the Catholic faith, Marie leaves him, under the influence of a whole community of Catholic “advisers”, both priests and laymen Hans, brokenhearted, has to live with the feeling of having lost his true love to conventional, corporate “morality” In his eyes, Marie’s marriage to a “trustworthy” Catholic man constitutes adultery and prostitution, as she submits to a sexual relationship to satisfy not her own natural inclination, but society’s idea of correctness I found it fascinating to follow Böll’s reflections on how easily ethical values can be turned into their opposite, depending on how you perceive yourself: as part of a corporation (religious or political) or as an individual person with a subjective inclination that doesn’t recognise the boundaries that society sets, according to “objective rules, traditions and standards”.For Hans, there is nothing heroic in his sister’s forced selfsacrifice for the German Reich, and there is nothing laudable in Marie’s “metaphysical fright” and subsequent choice of a different partner He the ridiculous clown sees the ridiculous in “collective thinking” if that is not altogether an oxymoron, as groups tend to act without thinking, blindly following the voice of the crowd.In the end, he is alone, sad and poor, for success is to be found in the groupthink of established power structures, not in the individual search for freedom of thought and feeling He puts on his clown mask, and shows society the empty features of its hideously cracked face.I didn’t laugh at the Pierrot though I thought I finally understood my true profession And there is nothing worse, Hans says, than clowns that laugh at their own performance It is for the others to sit in groups and to laugh at the sad, lonely clown. The Clown is a story of an outsider and although the novel is satirical it is sad.“I don’t trust Catholics,” I said, “because they take advantage of you.”“And Protestants?” he asked with a laugh.“I loathe the way they fumble around with their consciences.”“And atheists?” He was still laughing.“They bore me because all they ever talk about is God.”“Then what are you?”“I am a clown,” I said…Sanctimony of clerics, hypocrisy of politicians: everybody attempts to make believe that there was no past… And the main character is like a fledgling that has fallen out of the nest, he is lost and full of selfpity They also know perfectly well that even an unscrupulous artist has a thousand timesconscience than a scrupulous manager, and they possess one allconquering weapon: the sheer knowledge of the fact that an artist simply cannot help doing what he does: painting pictures, traveling up and down the country as a clown, singing songs, carving something “enduring” out of stone or granite An artist is like a woman who can do nothing but love, and who succumbs to every stray male jackass The easiest people to exploit are artists and women, and every manager is from one to ninetynine per cent a pimp.Those who pretend are happy and those who don’t want to pretend are miserable. The novel “Ansichten eines Clowns” by Heinrich Böll tells a story about a clown who is concerned about his life because he failed at work and in his private life in the eye of society The book is very interesting and it portrays the point of view of a poor, desperate young man looking for a way out of the chaos in his life Böll has a critical view on society, wealth and poverty, religion, people and politics The author is a master in uncovering hidden facts about the society All in all, a lot of contrasts about the society are taken into consideration An exceptionally good book and it is consequently absolutely recommendable. Böll's 1963 novel The Clown, with the main themes being that of love and Catholicism, examines in detail the human condition and the hypocrisy of contemporary German society in repressing memory of the historical past in order to concentrate on material reconstruction In the book the figure of narrator Hans Schnier (the clown) represents the social conscience of German postwar reality, and through conversations Hans has with those who represent various segments of the community, Böll presents his stark criticism of that world, especially of the institutions of the church and industry Hans Schnier, who's personal and professional life is faltering returns alone and destitute to his hometown of Bonn and spends most of the time secluded in his small apartment drinking and despairing over the past, whilst making desperate phone calls to family, friends, and acquaintances to borrow money and to try and rally support to reclaim his sweetheart He lost his commonlaw wife Marie, the Catholic daughter of an old socialist, to another man, Heribert Züpfner, a Catholic lay functionary, and he simply can't get over the fact Marie represented for him the calmness and comfort through the hectic life of constant travel, being holed up in hotels, and performing as his career took off He is now nothingthan an artistic soul suffering greatly in the absence of his only love Interspersed with the present are his memories of past events, including when Hans and Marie first met as teens, and the loss of his sister Gradually the chronology of the entire story unfolds, and it's up there with the best German novels I have read The actions might only span nothan a matter of hours, but it simply never felt that way This is something similar he did remarkably well in Billiards at HalfPast Nine The Clown is again clearly a personal work for Böll, and was easily as good, if not better than the other novels I have read by him so far. This one is ideal to show the overestimation of the classic, upper literature, especially if it is mixed with patriotism and this idealization of our author who is treated like a national sanctuary Yes, a long time ago there weren´t many authors, but one must differentiate between the ones that sold many great books because they were talented and loved by a huge audience and those who got hyped by the decadent establishment and socalled intellectuals Böll is no bad author, but this work is simple, minimalistic and of average quality, nothing outstanding or unique There could be a kind of tutorial to get a Nobel Prize for literature that goes as follows: Just take large, epic topics that have influences on in contrast small, in detail described persons that deal with many inner and outer demons and avoid to be entertaining, funny, logical, have too many settings or follow the thousands of years old rules of good storytelling There were so many great authors at any time that never got a Nobel Prize and enriched my life while many Nobel Prize laureates where disappointments If they had written pure sociological, psychological, philosophical nonfiction books it would have been ok because the reader would have known what to expect from the work There is so much Zeitgeist that it is difficult to understand without detailed foreknowledge, the often strange writing style, open ends and yes, mumbo jumbo And it doesn´t make fun to read it, there is no flow kicking in Kids hate reading because of stuff like this that they are forced to read in school and each country has these ancient works of strange authors in the schedule Do you know how many of them had really weird views of the world that used to be normal at those time? The joker, on the other hand, is a clown beloved by kids, but comics aren´t good enough for school.Mark Twain or Jane Austen made real art that is old, but entertaining and timeless The Nobel Prize, it appears to me, has in many cases always been andandbecome a kind of intellectual self gratification of readers, writers and the jury And what may bedifficult, to write a lord of the rings or game of thrones or always similar story about a tearful, mentally unstable person with a cynic world view that is behaving like an arrogant emo kid with severe personality disorder (quite kind always the same)?A wiki walk can be as refreshing to the mind as a walk through nature in this completely overrated real life outside books: Translated from the German, the basic plot is that our protagonist is a highclass clown he doesn't do circuses and children's parties, but union meetings and corporate events One of his best stichts, he tells us, is The Board Room Our protagonist is also an alcoholic and snotty rich youth who appears to be rebelling against mom and dad by wooing a Catholic girl But he eventually loses her to Catholics his words He doesn't see that his own selfcenter alcoholic butt might be part of the problem By Catholics he means the tightlyknit culture of Catholics at this time in Germany One could interpret this book as an antiCatholic screed I'm not sure what the point was in the author writing this book in Germany in 1963 so soon after German persecution of people of another religious faith By calling this work an antiCatholic novel, I mean the protagonist dislikes, criticizes, and makes fun of Catholic theology and religious customs, and even the dress of religious leaders In a literary sense, it's a book with good characterization and it holds your attention despite the low level of plot. The Era of ProstitutionHans, the clown in question, is a petulant, socially awkward, articulate, but persistently sarcastic figure who identifies with both the Germanic Siegfried and the Jewish Christ Although Protestant, he knowsabout Catholic ritual and attitudes than most Catholics He abhors clerics and their rituals when they pretend tothan aesthetic importanceHans is an artist who lives for the aesthetics of his craft, which is grounded in the observation of the details of everyday life, the conventions that no one notices but which dominate human existence I am a clown, he says, I collect moments First he makes these hidden conventions visible, then he subverts them through mockery He can't help it; this is what he has to do He calls this his Niebelungen Complex.As a sort of prontohippie, Hans rails against hypocrisy in the state which ignores the unforgivable crimes of its citizens, of the church which has become a procedural machine concerned with politics rather than love, of the family which prefers conformity to creative expression by its members He can't condemn however, merely marvel at the ability of his friends and family to deceive themselves Everything in Germany culture, politics, meaning is prostituted to the Americans, to TV commercialism, to insincere charitable drives.Injury and emotional trauma force Hans into penury No one he knows can or will help He does the only thing possible for someone who finds himself an alien in his own land At the age less than thirty he becomes Christ in the makeup of a clown miming the absurdity of everyday life on the steps of Bonn Central Station Vox clamans in deserto so to speak. `DOWNLOAD PDF ↬ Ansichten eines Clowns ↾ هانس اشنیر دلقک، تنها به اتاق خود در بن، پناه برده است و چند ساعت شکست‌های زندگی عاطفی و حرفه­ایش را جمع­بندی می­کند تا بعد برود مانند گدایی بر پله ­های ایستگاه راه­ آهن بنشیند و بازگشت ماری، زن محبوبش را که از دست داده است و هم امروز باید از سفر ماه عسل به رم بازگردد، انتظار بکشد یا به هرحال چنین وانمود کند کتاب تک­گویی بلندی، ساخته از «ملاحظات» یا عقاید آدمی سرخورده مایه گرفته، خاطره ­های شخصی است که تنها چند مکالمه تلفنی و ملاقات کوتاه پدر آن را قطع می­کند هانس اشنیر، برخلاف اکثر شخصیتها در داستانهای کوتاهی که «بول» پس از جنگ نوشته است، در خانواده ­ای بورژوا به دنیا آمده است اشنیر مدعی است که رنگ و روغن «صادقانه» چهره معرکه ­گیر را در برابر ریاکاری اجتماعی قرار می­دهد اما، دهن ­کجی دلقک، که با طرز پاسخی زیباشناختیاخلاقی شکل می­گیرد، مضحک است مؤخره عجیب و غریبی که طی آن هانس اشنیر ورشکستگی خود را با خوشرویی به نمایش درمی­آورد، تصویری حاکی از تسلیم و رضا از هنرمند به دست می­دهد