Franziska left hand

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Franziska Linkerhand is an unfinished novel by Brigitte Reimann that was published posthumously in East Berlin in 1974 . The author wrote for twenty years; of which the last ten on this novel, which is her most important literary work. Due to its unusually open portrayal of everyday life in the GDR , the book played an important role in the critical debate within the GDR in the 1970s and 1980s. The novel has strong autobiographical traits. An unabridged new edition was published in 1998.

The ambitious young architect Franziska Linkerhand, who comes from a middle-class family, goes full of enthusiasm to Neustadt on the eastern edge of the GDR to realize her ideals of decent urban development in the newly emerging place. Their demands come into sharp conflict with economic constraints, ideological encrustation and the resigned attitude of their architect colleagues.

content

Franziska's retelling of the very difficult youth, addressed to her lover Ben, begins shortly after April 30, 1945. The Führer had "fallen at the head of his troops" in Berlin. Franziska's father, an old-school Protestant publisher, always named “Left Hand” in the text, distanced himself from the dictator in retrospect. He didn't choose him. The parents cannot cope with the new social order and move to Bamberg in the early 1960s. Architecture runs in the family. One of the grandmother's brothers was a town architect in Franziska's birthplace on the Elbe.

Franziska, born around 1938, tells of the May days in 1945, i.e. of the seamless transition to Bolshevism . The red flag is hung out. Franziska adds the word “capitalist” to her vocabulary. This is what the Russians call Father Left Hand, who in vain buries his medieval art treasures in front of the resourceful winners in the salad bed. It is not the father who feeds the family that spring, but primarily Franziska's eight-year-old brother Wilhelm.

Wilhelm is studying nuclear physics two thousand kilometers from his sister. They meet at most once a year; discusses the Oppenheimer case . Wilhelm later did his doctorate and worked as a privileged scientist in Dubna .

When she was eighteen, Franziska was deflowered by the 19-year-old worker Wolfgang Exß. Wilhelm - on home leave - beats up the bull-necked seducer. Franziska marries Wolfgang. The marriage fails.

Franziska is doing her diploma under her teacher, Prof. Reger, a famous architect. Reger even takes Franziska into his house. However, the 24-year-old decides against participating in Reger's prestige projects and in favor of urban development. She goes to Neustadt, where apartments have to be built for the workers of a large combine (the literary model for Neustadt is Hoyerswerda with the Schwarze Pump gas combine ). There Comrade Schafheutlin becomes your superior. The divorced Franziska should plan the renovation of the old town with her 28-year-old colleague Jazwauk - the last bachelor on the construction site. The new girl throws herself at work. Boss Schafheutlin has other worries than warming up to his new employee's lofty plans. He warned Franziska urgently from the start: Building lots of apartments for working people quickly and cheaply is the only priority and urgent task. Schafheutlin, who occasionally likes to admonish Franziska, is proud of the results thanks to the modern industrial panel construction . Franziska holds against it: In the evening Neustadt is "more dead than Pompeii and Herkulanum ". Schafheutlin himself lives with his wife and four children in his house, an hour away from the scene.

One evening when Franziska visits a restaurant with Schafheutlin, she discovers a man among the guests who resembles Wilhelm and calls the stranger Ben - like her dream lover. His name is Wolfgang Trojanowicz. Franziska is fascinated by his masculinity and his serene cynicism. Trojanowicz provokes them with the opinion that the housing construction in Neustadt has only produced "a settlement of television caves". At first they meet rather by chance. Franziska is plagued by jealousy because Trojanowicz is in a relationship with Sigrid - a sports and Russian teacher. Although a complicated and fragile love affair gradually develops between her and Trojanowicz, Trojanowicz eventually goes back to Sigrid.

Towards the end of the fragment, Brigitte Reimann tells Trojanowicz's past in the form of a protocol. Having fled from Masuria over the icy lagoon , he advanced to the position of FDJ secretary after the war and on June 17th he was sent to outraged Leipzig workers as a “red agitator”. Comrade Trojanowicz distinguished himself as a journalist after this test of courage - on which he had to avoid flying wrenches. In 1956, while he was doing his doctorate in Leipzig, he met Sigrid. In the same year, after the events in Hungary , Trojanowicz was arrested on the basis of unproven suspicions and sentenced to four years in Bautzen . For the last of the four years he worked in a detention center building a greenfield combine.

Franziska is increasingly realizing that her work with type projects on this - as she says - "architectural crime" in that "dog Turkey" around Neustadt - could also be done by a technical draftsman. The young architect's “student dreams” do not stand up to everyday life in Neustadt, also filled with “lintel windows, gas faucet, sleeping pills”. She admits she has failed. From the overall context of the novel, however, it is clear that this is not a personal failure, but rather a social conflict that tragically remains unsolvable: The economic constraints to create living space for thousands in the shortest possible time collide with Franziska's claim to “close houses build that give their residents the feeling of freedom and dignity ”. In the end, the book refers to the momentary failure beyond a utopia: “There must be, there must be, the clever synthesis between today and tomorrow, between dreary block construction and cheerful lively street, between the necessary and the beautiful, and I am her on the trail, haughty and oh, how often, hesitant, and one day I'll find her. "

Emergence

Brigitte Reimann originally intended to write a novel of development that would have suited both her literary work to date and the cultural-political zeitgeist. The literary critic Günter Ebert , who wrote expert opinions for the Ministry of Culture about the individual development stages of the novel , sketched the fable as follows: “The development of a young architect who has to break away from yesterday's parental home, from the authoritarian teacher, Professor Reger, a famous architect, she has to solve the construction of a new city, namely Neustadt, just as she has to find her love. In other words, a novel of development (...). ”During the ten years of writing, the author moved away from this concept more and more. The reason lies not least in their growing disappointment with the "real existing socialism" in the GDR. In order not to minimize the chances of publication from the outset, both the Neues Leben publishing house , in which the book was to appear, and the reviewer Günter Ebert stuck to the strategy of announcing the book as a development novel. As early as 1968, however, Brigitte Reimann wrote in a letter to the architect Hermann Henselmann : “Incidentally, the pleasant positive conclusion (...) may not be the end that I will find later. It's all still open. "On October 28, 1969, she noted in her diary:" Since I haven't known how many pages it is heading towards a bitter end ... "

Both her illness and the increasing political disillusionment made it more and more difficult for Brigitte Reimann to even complete the manuscript. In her diary she described a real alienation from the characters and conflicts in the novel. Christa Wolf reports on a visit to the hospital shortly before Brigitte Reimann's death: “Her book has become questionable for her, she says, the revision of the penultimate chapter and a short, sad chapter of 15 pages at the end is still missing. How sad? Well, because my girl has lost her loved one there and is now battered, covered with wounds, going back to her city. ”In the last handwritten sketches at the end of the novel, there is another variant for the end: Franziska's design for an architects' competition is disadvantaged from the start by her boss Schafheutlin. "She had lost the duel before she went into it." With this sentence her notes end.

Edition history of the first edition

The first edition of the novel, published in 1974 by the Neues Leben publishing house, was long suspected of containing very strong, politically motivated abbreviations and deviations from the original typescript and even "entire passages by someone else's hand" that were allegedly created under the influence of the Stasi. In the meantime, the edition history of the first edition has been sufficiently researched and the extent of the cuts is known. It is around 4% of the original typescript. According to Withold Bonner's analysis, the motivated cuts and deletions are different, but no new texts have been added after Brigitte Reimann's death. On the one hand, the changes were part of normal editing work that the editor Walter Lewerenz carried out in close contact with Brigitte Reimann. The main focus was on stylistic inconsistencies, redundancy and the representation of sexuality, which was too explicit for the taste of the time. However, the main reason for the cuts and tensions is undoubtedly political. Brigitte Reimann already complains about the "ineradicable self-censor" who forbids her to address unpopular topics as openly as she actually wants. The publisher also advised the author to weaken it so as not to question the publication of the book from the outset.

Most of the changes concerned the 13th chapter, in which the biography of Wolfgang Trojanowicz is described. Withold Bonner counts 31 short and long omissions, whereby the motives are the most difficult to differentiate here. Brigitte Reimann based Trojanowicz's path through life on the fate of Erich Loest and Reiner Kunze , which, in the opinion of the editor, led to an overload of the literary figure. The reviewer Günter Ebert does not argue politically, but with critical objections to the composition and language against this chapter. From today's point of view, it is difficult to decide whether the style criticism was merely a trimming of the ideological criticism. A comparison of the book edition with the typescript makes it clear which topics were the ones that contained political explosives. These included the exposure of Stalin's crimes on the XX. Party congress of the CPSU , the Hungarian uprising and the political criminal law in the GDR. Sometimes it is just about omitting politically offensive "stimulus words" (such as the mention of the place "Bautzen" as a well-known prison for political prisoners).

Other taboo topics in the overall typescript were the old age of the Politburo members, the massive consumption of Western television in the GDR, the rape and looting by the Red Army at the end of the war, and the suicide rate in the GDR. Here, explicit descriptions and facts have been deleted, although hints were often enough for readers of the GDR to understand the intended criticism. Therefore, it cannot be concluded from the abbreviations that the book has been robbed of its explosive power or even falsified in its narrative intent. “Despite the cuts, the novel became a cult book for a whole generation there [in the GDR] in the 1970s. Anyone who condemns those responsible for the cuts made must ask whether Brigitte Reimann would have been more useful if the novel had remained in a drawer for decades or had only appeared in the West, where it could never have played the role for the reading public, which he had for his readership in the GDR, ”concludes Withold Bonner.

shape

In this novel, Brigitte Reimann experiments with narrative forms that were by no means common in GDR literature at the time the novel was written. The novel alternates between authorial perspective and first-person narration. Sometimes the transition occurs in the middle of a sentence. In this way, the perspective of the Franziska figure can hardly be separated from the perspective of the author, and even in the authorial passages the narrator is not an omniscient authority who quasi corrects and contextualizes the attitudes and views of the main character. With these formal elements, Brigitte Reimann underscores her insistence on a personal view that is not based on the fulfillment of cultural-political guidelines. Another structural peculiarity strengthens the character of the subjective, almost intimate: Franziska addresses her life story to the "ideal lover" whom she calls Ben. This desired projection later merges with the real figure of the tipper driver Wolfgang Trojanowicz. Since this love fails, the novel can also be interpreted as a farewell letter to the beloved - the ideal as well as the real.

Brigitte Reimann does not narrate in a temporal continuum; Forwards and backwards alternate with passages in which the flow of time stops and poetic reflection is given space. This technique of stream of consciousness sometimes leads to extreme shortening of sentences and linguistic ellipses : “Relax on the Baltic Sea beach. As his guest. ”The novel is characterized by a wealth of poetic metaphors, which the author accused some critics of being too close to kitsch.

interpretation

“There comes a girl, young, talented, full of passionate plans, into the construction kit city and dreams of palaces made of glass and steel - and then she has to count components, build quickly, build cheaply, grapple with a thousand people (oh, no heroic battles But the small, grueling quarrels and Bachirewtum have to be put off, and the heroic deeds consist in fighting for a few centimeters of window width, and everything is so terribly commonplace, and where are the great designs of youth? ”wrote Brigitte Reimann in a letter to Annemarie Auer . In a letter dated January 5, 1970 to the same addressee, the author calls the development novel her “unlucky book.” According to Heinz Plavius, there is an architecture and love novel. Karin Hirdina attests to Brigitte Reimann's honesty and depth Reproduction of a section of the GDR reality.

reception

At the time, permission to print a work was given by the publishing and book trade headquarters in the GDR Ministry of Culture . In the relevant external report, the book is praised as a reading of “self-realization”.

GDR votes for the first edition in 1974
  • According to Annemarie Auer (in the ND of July 29, 1974) Brigitte Reimann brought in "material from her material". Günter Ebert also expressed himself in this spirit on July 19, 1974 in Neubrandenburg : Franziska would surrender in an unusual way.
  • Rulo Melchert ( Junge Welt, September 6, 1974) notes a “strong optimistic trait” throughout the text. Neither a “story of suffering” (Klaus Jarmatz on September 15, 1974 in the Berliner Zeitung ) nor a “lamentation” (Karin Hirdina in “Sinn und Form”, 1975, issue 2, p. 434) is celebrated. The architect Hermann Henselmann ( Die Weltbühne , 1974, No. 35, p. 1108) does not consider Franziska's failure to be too bad. The main thing is that it retains its creative power. Only Anne Dessau (in the Forum , Berlin, November issue 1975) and the architect Wolfgang Kil (in “Architecture in the GDR”, Berlin, November issue 1975, p. 702) disturb the harmony of this canon. Dessau hears "bitterness over ... unsolvable problems" and Kil acknowledges Brigitte Reimann's courage. Kil admonishes his colleagues from the GDR architecture faction: "We all have to think for ourselves".
FRG -votes for the first edition 1974
  • Although Gabriele Wohmann irritated and alienated, but it recognizes the "vitality" and the absence of "thinking" of "transience" in the book. Incidentally, Wohmann believes that the book's eastern origin can only be identified from the low retail price. Peter Pawlik ( Stuttgarter Zeitung of October 12, 1974) is on the one hand irritated. Some things in the novel just don't fit into the tried and tested good and bad drawers. On the other hand, the novel is one of the books about the rarely "truthful" illustration of the "world of work". In this sense, Hedwig Rohde ( Der Tagesspiegel of January 26, 1975) also praises the fact that the author has finally broken away from her earlier reference to the “Soviet novels” and found a more “complex”, “subjective” spelling.
  • Heinz Mudrich ( Saarbrücker Zeitung of June 14, 1975) and Wolfgang Werth ( DLF on October 21, 1974) accused Brigitte Reimann of kitsch passages.
  • Rolf Michaelis ( Die Zeit of January 16, 1976) states the destructive effect of socialism on people.
New edition 1998
  • Neustadt could mean Hoyerswerda .
  • By separating from Wolfgang Exß, Franziska is turning away from the workforce.
  • With images like that of the pale “princess who kidnapped a purple horse across the sky”, the author opened up a poetic dimension in her text.
  • Any love affair between Francis and a man would remain unfulfilled.
  • The " MfS " deleted some things in the first edition - for example the place when the young doctor commented on Franziska's questioning about the suicide rate in the new residential buildings in Neustadt. Angela Drescher was able to save around four percent of the deleted text compared to the first edition. For example, places where mistakes made by the Soviet people were named, fell victim to the red pencil in 1974 - just like the suicide issue mentioned. But not all of the deletions at the time had political causes.
  • The imprisonment of the journalist Trojanowicz for alleged counter-revolutionary activities was modeled on the case of Erich Loest . Franz Dahlem advised Brigitte Reimann to incorporate this part.
  • Apparently, Brigitte Reimann had not yet had sufficient clarity about the end of the novel.
  • Basically, the novel is overloaded with far too many side stories. So Barner and coworkers in their fat literary history do not get involved at all with the enormous fragment. One surrenders to the "abundance of material".
  • Suddenly all all German critics were of the same opinion: The “durable” text would probably outlast every copy of the “Nachwenderei” (post-turn) read by the innumerable Schlauberger authors.

Media adaptations

  • April 21, 1978: The play of the same name is brought to the stage by Christoph Schroth in Schwerin . Angelika Waller plays Franziska. The dramaturges Bärbel Jaksch and Heiner Maaß were responsible for the stage version. The performance is a great success and is one of the standard-setting productions of the GDR theater that critically deals with reality.
  • January 1981: The film Our Short Life by Lothar Warneke is shown. Simone Frost plays Franziska, Gottfried Richter plays Trojanowicz, Hermann Beyer plays Schafheutlin and Christian Steyer plays Jazwauk.
  • May 2000: Production by Franziska Linkerhand at the Dresden State Theater . Director: Irmgard Lange. Winnie Böwe as Franziska
  • May 10th, 2009: Opera Linkerhand in 33 pictures by Moritz Eggert , freely based on the novel Franziska Linkerhand by Brigitte Reimann has its world premiere in the Lausitzhalle Hoyerswerda. Libretto - Andrea Heuser , musical director - GMD Eckehard Stier , staging - Sebastian Ritschel, equipment Karen Hilde Fries, choreography - Dan Pelleg, Marko E. Weigert, Franziska I - soprano Yvonne Reich, Franziska II - actress Inés Burdow .
  • May 16, 2009: Premiere of Left Hand in the Görlitz Theater.
  • 2009 production by Franziska Linkerhand at the Thalia Theater Halle, director: Katka Schroth
  • 2019 production by Franziska Linkerhand at the Deutsches Theater Berlin, director: Daniela Löffner

Web links

literature

Text output

First edition
  • Brigitte Reimann: Franziska Left Hand. Novel. New Life Publishing House, Berlin 1974
Used edition
  • Angela Drescher (Ed.): Brigitte Reimann: Franziska Linkerhand. Novel. Epilogue: Withold Bonner. Aufbau-Verlag, Berlin 1998. ISBN 3-351-02852-0

Secondary literature

  • Wilfried Barner (ed.): History of German literature. Volume 12: History of German Literature from 1945 to the Present . CH Beck, Munich 1994, ISBN 3-406-38660-1
  • Maria Brosig: "It's an experiment". Formation of tradition in GDR literature based on Brigitte Reimann's novel "Franziska Linkerhand" . Königshausen & Neumann, Würzburg 2010 ( Diss. (PDF; 44 kB) University of Potsdam : GDR literature from a generative perspective: A study on processes of literary tradition formation using the example of Brigitte Reimann's fragment of the novel “Franziska Linkerhand” ), ISBN 978-3-8260-4379 -6
  • Dagmar Fischborn ( Dagmar Borrmann ): Theatrical adaptations of epic texts as a special form of interrelationship between theater and literature. "Franziska Linkerhand" and " The Seventh Cross " at the Mecklenburg State Theater in Schwerin. Dissertation A. German National Library. Signature Frankfurt: H 85b / 6201, signature Leipzig: Di 1985 B 4212
  • Dieter Schmauß (eds.): Helene and Martin Schmidt: Brigitte Reimann (1933–1973). Encounters and memories. Publications of the University Library Hagen , 2005. Volume 11, 170 pages,
  • Barbara Wiesener: About the pale princess who kidnapped a purple horse across the sky - the utopian in Brigitte Reimann's work. University of Potsdam , dissertation Dr. phil., Potsdam 2003, 236 pages

Remarks

  1. ↑ At the beginning of 1965 a publishing contract with “ Neues Leben ”, Berlin, came about (Wiesener, p. 144, 8. Zvo).
  2. ↑ Wiesener (Wiesener, p. 148, 4th Zvu) is pretty sure - Franziska's place of birth is Dresden. From Dresden, however, it is by no means three hours to take the express train (edition used, p. 122, 13th Zvu) to Hoyerswerda. So maybe a mixture from Dresden and Magdeburg would come into question.
  3. ↑ Schafheutlin says, for example, to Franziska: "You do not exist for yourself, but in a society." (Edition used, p. 415, 10. Zvo)
  4. ↑ Franziska zu Ben alias Wolfgang Trojanowicz: "... I invented you ..." (Edition used, p. 274, 9. Zvu)

Individual evidence

  1. ↑ Wiesener, p. 144, 2. Zvo
  2. ↑ Edition used, p. 11, 12. Zvo
  3. ↑ Edition used, p. 18, 11. Zvu
  4. ↑ Edition used, p. 18, 2nd Zvu
  5. ↑ Edition used, p. 229, 3rd Zvo
  6. ↑ Edition used, p. 358, 6th Zvu
  7. ↑ Edition used, p. 551, 10th Zvu
  8. ↑ Edition used, p. 390, 9. Zvo
  9. ↑ Edition used, p. 380, 8. Zvo
  10. ↑ Edition used, p. 540, 13. Zvu
  11. ↑ Edition used, p. 122, 17. Zvo
  12. ↑ Edition used, pp. 603–604, 13. Zvu
  13. ↑ quoted from: Heide Hampel (Hrsg.): Federlese. Who wrote Franziska Linkerhand? Edited by the Literaturzentrum Neubrandenburg e. V. 1998, ISBN 3-910170-32-3 , p. 61
  14. ↑ Heide Hampel (Ed.): Federlese. Who wrote Franziska Linkerhand? Edited by the Literaturzentrum Neubrandenburg e. V. 1998, p. 63
  15. ↑ Brigitte Reimann: Hunger for Life. A selection from the diaries 1955–1970. Structure of Taschenbuch Verlag, Berlin 2004. ISBN 3-7466-2036-8 , p. 290
  16. ↑ Brigitte Reimann, Christa Wolf: Greetings and live. A friendship in letters and diaries 1963–1973 . Edited by Angela Drescher. Aufbau-Verlag Berlin, 2016. ISBN 978-3-351-03636-2
  17. ↑ Heide Hampel (Ed.): Federlese. Who wrote Franziska Linkerhand? Edited by the Literaturzentrum Neubrandenburg e. V. 1998, p. 64
  18. ^ Withold Bonner: From typescript to book version. Who wrote the novel Franziska Linkerhand by Brigitte Reimann? . In: Heide Hampel (Ed.): Federlese. Who wrote Franziska Linkerhand? Edited by the Literaturzentrum Neubrandenburg e. V. 1998, p. 69
  19. ↑ Wilhelm Frank: A friendly pat on the back of the head and the consequences. Brigitte Reimanns ousted liaison with the Stasi. In: Nordkurier of July 6, 1996, weekend edition, p. 4
  20. ^ Withold Bonner: From typescript to book version. Who wrote the novel Franziska Linkerhand by Brigitte Reimann? , Heide Hampel (Ed.): Federlese. Who wrote Franziska Linkerhand? Edited by the Literaturzentrum Neubrandenburg e. V. 1998, p. 69
  21. ^ Withold Bonner: From typescript to book version. Who wrote the novel Franziska Linkerhand by Brigitte Reimann? , Heide Hampel (Ed.): Federlese. Who wrote Franziska Linkerhand? Edited by the Literaturzentrum Neubrandenburg e. V. 1998, p. 56
  22. ^ Withold Bonner: From typescript to book version. Who wrote the novel Franziska Linkerhand by Brigitte Reimann? , Heide Hampel (Ed.): Federlese. Who wrote Franziska Linkerhand? Edited by the Literaturzentrum Neubrandenburg e. V. 1998, p. 53
  23. ^ Withold Bonner: From typescript to book version. Who wrote the novel Franziska Linkerhand by Brigitte Reimann? , Heide Hampel (Ed.): Federlese. Who wrote Franziska Linkerhand? Edited by the Literaturzentrum Neubrandenburg e. V. 1998, p. 65
  24. ^ Withold Bonner: From typescript to book version. Who wrote the novel Franziska Linkerhand by Brigitte Reimann? , Heide Hampel (Ed.): Federlese. Who wrote Franziska Linkerhand? Edited by the Literaturzentrum Neubrandenburg e. V. 1998, p. 67
  25. ↑ Edition used, p. 453, 7th Zvu
  26. ↑ Christoph Dieckmann: How it was . In DIE ZEIT of July 26, 1996
  27. ^ Letter of November 26, 1963 In: What matters is the truth . Letters from writers from the GDR, Halle 1975
  28. ↑ quoted in Bonner in the afterword of the edition used, p. 623, 16. Zvu
  29. ↑ quoted in Bonner in the afterword of the edition used, p. 606, 4th Zvo
  30. ↑ Plavius ​​(“ NDL ”, Berlin 1975, issue 1, p. 141), quoted in Brosig, p. 26, 2. Zvo
  31. ↑ Hirdina (" Sinn und Form ", Berlin 1975, No. 2, p. 434), quoted in Brosig, p. 26, 4th Zvu
  32. ↑ Angela Drescher in the follow-up to the edition used, p. 636, 10th issue
  33. ↑ Auer, quoted in Brosig, p. 22, 16. Zvo
  34. ^ Ebert, quoted in Brosig, p. 22, 16. Zvo
  35. ↑ Melchert, quoted in Brosig, p. 24, 1. Zvo
  36. ↑ Jarmatz and Hirdina, quoted in Brosig, p. 24, 4. Zvo
  37. ↑ Henselmann, quoted in Brosig, p. 24, 11. Zvu
  38. ↑ Dessau and Kil, quoted in Brosig, p. 25, 3rd Zvo to 12th Zvo
  39. ↑ Wohmann, quoted in Brosig, p. 27 below to p. 28 above
  40. ↑ Brosig, p. 30 below
  41. ↑ Pawlik, quoted in Brosig, p. 28, 13. Zvu
  42. ^ Rohde, quoted in Brosig, p. 29, 5. Zvo
  43. ↑ Brosig, p. 28, 16. Zvo
  44. ↑ Michaelis, quoted in Brosig, p. 28, 17. Zvu
  45. ↑ Wiesener, p. 144, 10. Zvo
  46. ↑ Wiesener, p. 150 middle with reference to the edition used, p. 107
  47. ↑ Edition used, p. 113, 22. Zvo
  48. ↑ Wiesener, pp. 150.15. Zvo
  49. ↑ Wiesener, p. 168, 5th Zvu
  50. ↑ Wiesener means on p. 154, footnote 762 the passage in the edition used p. 588, 11th Zvu
  51. ↑ a b Bonner in the afterword of the edition used, p. 613, 5th Zvu
  52. ↑ Bonner in the afterword of the edition used, p. 628, 7th Zvu
  53. ↑ Bonner in the afterword of the edition used, p. 625, 14. Zvu
  54. ↑ Bonner in the afterword of the edition used, p. 627
  55. ↑ Barner, p. 740, 21. Zvo
  56. ↑ Michaelis, quoted in Brosig, p. 36, 2nd Zvu
  57. ↑ Brosig, pp. 39-58
  58. ↑ onlinelibrary.wiley.com, accessed October 1, 2016
  59. ↑ Brosig, pp. 58-71
  60. ↑ Evelyn Finger: War and Fall in the Colors of Pop Culture .
  61. ^ Press on the opera Left Hand
  62. ↑ Production by Franziska Linkerhand at the Thalia Theater Halle
  63. ↑ Production by Franziska Linkerhand at DT Berlin