Inge Stolten

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Inge Stolten at a May 1st demonstration in Hamburg

Inge Louise Stolten (born March 23, 1921 in Hamburg ; † May 4, 1993 there ) was a German actress , writer , journalist and politician . During the Nazi era , she belonged to the passive resistance around the White Rose Hamburg . Unable to work as an actress due to tuberculosis, from 1956 she published numerous writings and radio reports on various socio-political topics as well as autobiographical works. She was Otto Stolten's great niece and Axel Eggebrecht's second wife .

Life

Childhood and youth in Hamburg

Inge Stolten was born in Hamburg as the daughter of the unskilled worker Louis Stolten and the cleaner and former tram driver Frieda Stolten (née Clasen). She grew up in poor conditions in the St. Georg district , where she lived with her parents and three years younger brother in an apartment in the back of the building . She came from an "old social democratic family", her great uncle Otto Stolten was the first social democratic mayor of Hamburg.

She later described the father, who was progressively paralyzed by multiple sclerosis , as the formative parent. Louis Stolten was an active member of the SPD and widely educated himself. He was friends with the neurologist Max Nonne , who treated him for free. When the disease persisted, in 1931, at the age of 41, with the help of another patient in the hospital, his father committed suicide by overdosing on sleeping pills. Through his free-spirited upbringing, Inge Stolten had developed both an opposition to the emerging National Socialism and an unconditional desire for advancement: “I knew what I wanted, I wanted out of the backyard”.

According to the wishes of the deceased father, in 1934 she moved from the elementary school in St. Georg to the advanced school in Eimsbüttel , which in 1933 had been renamed from the Gerhart-Hauptmann-Schule to the Richard-Wagner-Schule . Here she passed her A-levels at Easter 1939. The school, which was characterized by a liberal spirit, was closed by the National Socialists in the same year. To enable herself to study, Inge Stolten signed up for the Reich Labor Service , which was extended beyond the planned period of service at the beginning of the Second World War . Because of openly critical comments she was transferred to the fortress Dömitz and released in December 1939 as "politically unreliable", which is why she could not use the discharge papers to enroll at the university: "It was over with her studies".

World War II and early post-war: actress and broadcaster

Instead of the planned teacher training course, Stolten decided to train as an actress, which she began after passing the entrance exam in May 1940 at the drama school of the Hamburger Schauspielhaus . During her apprenticeship she played smaller roles in theater productions and after graduating in 1942 received an engagement at the Schauspielhaus. In the summer of 1942 she took over the role of Luise in Schiller's Kabale und Liebe at the Kriegsmarine-Fronttheater Ost III instead of a sick colleague and traveled to Königsberg and to the front in the Baltic States .

In the 1942/43 season she returned to Hamburg and appeared in Donna Diana by Agustín Moreto and Idothea by Hans Leip as well as in the Nazi propaganda piece Das Dorf bei Odessa by the later successful crime film author Herbert Reinecker (" Derrick ") on the stage. During this time she met regularly with several befriended members of the later so called White Rose Hamburg , above all with Hans Leipelt , who was executed in 1945 , with Karl Ludwig Schneider and her former classmate Dorothea Zill . According to his own statement, Stolten also took part in meetings of the Musenkabinett . In July 1943 she lived with Dorothea Zill and other opponents of the regime in Berlin in the basement of a villa. However, she then went back to the front to play Kraft durch Freude in Minsk at the National Socialist Community's theater until October . As a result, she avoided the devastating bomb attacks in the firestorm in Hamburg . In Minsk she witnessed the oppression, ghettoization and murder of deported Jews and the racial policy of Gauleiter Wilhelm Kube . She appeared in the propagandistic merchant of Venice .

After her return to Hamburg and surviving a hepatitis infection , she reported again for troop support and played at different troop locations in Germany. When all theaters were closed by a decree by Goebbels on September 1, 1944 and the actors were drafted, she was posted to a barracks in Rendsburg to train as an anti-aircraft helper . “Unlikely luck” and acting faint attacks led the doctor in charge to discharge her for health reasons. Then she went into hiding in an empty hunting lodge owned by friends near Hamburg. When Hamburg was declared an open city shortly before the unconditional surrender in May 1945 , it returned to the city.

She had used the last months of the war to improve her school English so that she could work as an interpreter for the British occupiers immediately after her return. She also gave tutoring in English to the director of the Hamburg State Opera , Albert Ruch . This brokered her to the British soldier channel British Forces Network , where she worked illegally - because German actors were not allowed to be employed - as a radio play speaker and presenter.

In 1946 she was engaged for two years at the Neue Stadttheater Kiel under drama director Bernhard Minetti , where she played in Shakespeare's As You Like It and in Carl Zuckmayer's Des Teufels General . This was followed by changing engagements and, from 1952, various appearances at the Junge Theater (now Ernst Deutsch Theater ) in Hamburg, including in "The Holy Flame" by W. Somerset Maugham . From 1954 she appeared again at her training facility, the Deutsches Schauspielhaus, for example in Kleist's Penthesilea and Schiller's Die Räuber . In 1956 she also played Amalia in Die Räuber at the Schleswig-Holstein State Theater in Rendsburg .

In addition, she worked for the NWDR as a radio play and voice actor and for the first time also took on smaller roles in television plays. In 1954 she met the writer and NWDR co-founder Axel Eggebrecht , 22 years her senior , who became her partner and later her husband.

Illness and career change: writer and journalist

In May 1956, Stolten was diagnosed with open tuberculosis . After she had initially tried to keep the disease a secret and to have the cavern treated on an outpatient basis so as not to have to give up her job, she was admitted to the lung sanatorium in Mölln in November 1956 . After being released from the sanatorium after eight months, she was no longer allowed to work as an actress because of the excessive strain on her lungs, but in retrospect she found this to be an advantage: “The illness is proving to be a stroke of luck. I am discharged from the sanatorium as 'incapacitated' to do anything, I start to write, and am completely surprised myself that I can do it. I have a new job. "

In the following years she worked as a journalist and publicist for radio and television. Especially for radio, she wrote numerous features and glosses on a wide variety of sociopolitical topics as well as a large number of reviews. She processed her experiences in the sanatorium anonymously in her novel Das Tagebuch der Jutta S. , published in 1970 (see autobiographical work ). It is her only published novel - the manuscript for a novel about the Neumünster textile merchant Hermann Marsian remained unfinished.

Instead of fictional works, non-fiction books with a political impetus were now in the foreground. She published several, mostly autobiographical articles on coming to terms with the Nazi era. Together with the journalist Thomas Ayck , who also worked for NDR, she published the pamphlet Childless out of responsibility in 1979 . She also dealt with the topic of wanting childlessness in radio broadcasts and in the new edition of the book from 1988. On February 12, 1982, she married Axel Eggebrecht in Hamburg, after both had long been skeptical about a wedding: “One day is more important than going to the registry office the decision to part with the books we own twice ”.

The last few years: politician in Hamburg

Inge Stolten with trade union lawyer Wolfgang Kraider

After the fall of the Berlin Wall , Stolten joined the SED successor party, the PDS, in 1990 . Their motivation was what they considered to be the inappropriate treatment of the GDR in the course of reunification : “I've never been in a party. But this overrun of the GDR made me politically active ”. She hoped the PDS could exert a similar influence on the established parties as the Greens had before . In addition, she feared nationalistic efforts: "I am simply afraid and worried that we will get a new Greater Germany again here".

Inge Stolten , memorial stone ( memory spiral ), women's garden, Ohlsdorf cemetery

Together with Axel Eggebrecht, the Hamburg party spokesman Horst Bethge and others, she initiated the campaign tour “Also in the West something new” of the PDS / Left List for the 1990 Bundestag election .

Her husband Axel Eggebrecht died on July 14, 1991 at the age of 92. Stolten became state board spokeswoman for the Hamburg PDS and was deputy chairwoman of the federal PDS from 1991 to 1993.

Inge Stolten's estate is in the Hamburg State and University Library .

Inge Stolten is remembered on a memorial stone in the " Garden of Women " at the Ohlsdorf cemetery in Hamburg.

Contents and themes of the works

Autobiographical work

The diary of Jutta S. (1970)

In the key novel Das Tagebuch der Jutta S. (1970), Inge Stolten tells the story of her tuberculosis from the point of view of the actress Jutta Satorius from the day she was diagnosed in May 1956 until she was discharged from the lung sanatorium in the summer of 1957. She lets numerous companions appear, for example Axel Eggebrecht ("Rolf"), Hans Leipelt (in real names), Katharina and Maria Leipelt ("his mother" and "his sister"), Willy Maertens ("the star of the theater") and Charlotte Kramm ("his Woman"). She described the diary itself as an "autobiographical novel".

In the middle of the negotiations about a permanent engagement at the theater, the 35-year-old actress Jutta Satorius found out after a routine check-up that she had tuberculosis. Horrified and overwhelmed, she tries to keep the "poor people's disease" a secret, at first even from her friend Rolf, whom she has known for 15 months. She fears social decline: “It was a long way out of the backyard. There is only one step back. ”Therefore, she tries to secretly carry out the required air treatment on her balcony, but is urged by the treating doctors to give up her job and go to a cure. "Tuberculosis is not a disease, but a fate" to which it has to submit. Since she is nowhere permanently employed, however, she would expect the loss of her livelihood in the event of a longer absence. Only when she found out that the stay was being financed by the health insurance did she consent to the cure and move into the sanatorium in November, six months after the diagnosis.

The seven months in the sanatorium are characterized by the constant alternation of progress and regression in treatment. Jutta's state of mind, which she records in detail, accordingly fluctuates between confidence and despair. She also suffers from a guilty conscience towards Rolf, who visits her frequently, and at the same time from jealousy attacks in which she fears that he is betraying her out of frustration about her condition. In addition to her inner life, the narrator devotes a lot of time to observing her fellow patients. She describes their numerous love affairs with one another, which culminate in an orgy-like celebration on New Year's Eve 1956/57. However, she also experienced the death of several other patients, which she found disturbing despite her war experience: “As an actress, I was on front tours, experienced street battles and bomb attacks. [...] Mines went up next to me. The train I was on was shot at. Countries were devastated, cities fell to rubble. Millions died around me. But I've never seen a dead man. "

In the course of 1957, her condition improved so that she could be released in early summer. The prospect of no longer being able to work as an actress no longer worries her as much as at the beginning, especially since she was dissatisfied with her role repertoire anyway. The book ends with Jutta's and Rolf's trip to Berlin, where they'll move into a shared apartment for the first time: “Rolf's happiness infects me. Our life together, it already exists for him. I just have to take on my part. The piece is there, the roles have been assigned, the rehearsal can begin. "

Woven into the main story are memories of the main character of her childhood and youth in Hamburg, her father's suicide, her time as an actress during the Second World War and her work for the British soldier broadcaster in the early post-war period. They are each triggered by events in the main storyline - for example, while driving, Jutta and Rolf stumble upon the hunting lodge where they had been hiding out of fear of persecution during the last weeks of the Second World War. The flashbacks coincide, apart from anonymization, with the memories of Inge Stolten as they are recorded in her unencrypted autobiographical works The everyday Exile and Not from a good home . Only a few love affairs are reported exclusively in the novel. At a New Year's Eve celebration - also mentioned in The Everyday Exile - “Jutta” becomes “ tender” with Hans Leipelt , about whose murder she later learned: “At dawn, Hans brought me home. We kissed at the door, then I let him go. Not realizing that it would be forever. "

Everyday Exile (1982) and Not from a Good Home (1981)

Everyday exile includes a detailed description of Inge Stolten's life between 1921 and 1948. The autobiographical story Not from a good home (1981) as well as the shorter contributions I can't remember the day Hitler's “seizure of power” (1981) and the state advanced school . Our school was a challenge for the Nazis (1985) are condensed versions or sections of what was reported in Daily Exile .

What they all have in common is the portrayal of their childhood in poverty. In The Everyday Exile and Not from a Good Home , she describes in detail the milieu and needs of her soon-to-be single mother. While Inge Stolten is accused today of "flirting" with her proletarian origins, as a child she is ashamed of her origins and her poor accommodation, to which she never dares to invite a schoolmate. When the class looked at a portrait of Otto Stolten during a visit to the town hall , they didn't dare to point out their relationship with the mayor. "The distance to our lives seemed too great to me." Especially at high school, she suffers from the distance to the mayor other pupils, who mostly come from the middle class, also trust their intellectual abilities: "Every day at school I experienced that possession and spirit are not mutually dependent."

The portrayal of the difficult relationship with her mother, to which she has no access and in front of which she feels misunderstood in her pursuit of education and prosperity, is also given greater space. She doesn't want to take the cleaning lady as a role model and instead admires the prostitutes in the nearby red light district: “I wanted to be a whore”. As a result, as she finds out in retrospect, her mother ultimately “had a decisive influence, because I didn't want to be like her, to toil like her, not to have to leave the house before five o'clock in the morning to clean offices, to clean up other people's dirt . "

Only in The Everyday Exile, on the other hand, does she report in more detail about "us young people who were described much later as the Hamburg branch of the White Rose". She describes the discussions in the circle of friends, which also revolved around the question of whether a violent overthrow should be sought. However, there was consensus not to try this: “It was the fear of a new ' stab in the back legend '. We believed that only the military defeat brought about from outside could enable a new beginning. The groups of opponents also seemed much too small to achieve anything. "

Political-essayistic work

Above all, Inge Stolten's radio reports cover a broad spectrum of topics ranging from glosses “About getting tanned” to the situation of assembly line workers and the consequences of mechanization. Three topics to which she devoted herself repeatedly and in depth were the coming to terms with the time of National Socialism, the question of the social significance of childlessness and the exploration of the consequences of a possible right to euthanasia.

Coming to terms with the Nazi era

Stolten often wove political considerations into her autobiographical narrative in order to use her memories to illustrate “how the dictatorship worked”. In Das everyday Exil she is amazed at the fascination that Hitler exerted on the masses, emphasizes that the injustice committed happened “in full view” and criticizes the process of repression that began in the post-war period: “The past soon covered up A colorful carpet of prosperity, on which the guilty also moved freely. ”In smaller publications, she worries about the political disinterest of young people, who as the“ gentle parka generation ”would be all too easily seduced again. She fears that right-wing radicalism will regain its strength due to the "failure to grapple with our past, in which so many were entangled."

Women's interests and intentional childlessness

The pamphlet Childless from Responsibility (1978) is based on numerous interviews with women and men from different walks of life. The authors want to warn against “having children too carelessly. It is a pamphlet against the 'we can do it' mentality ”. In addition to historical outlines of the development of the concepts of 'childhood' and 'motherhood', which they both consider to be an invention of industrialized society, a number of reasons for the right to childlessness are cited: the established “child hostility” in Germany, the rising suicide rate among young people, child abuse, the growing world population, the high costs of bringing up children, but above all women's right to professional self-fulfillment. The authors conclude: "Childlessness [...] is a challenge for a society which only verbally proclaims the rights of the child, which through failure maintains the oppression of women and degrades the man to the breadwinner."

Inge Stolten herself consciously decided in favor of childlessness: “I don't want children [...]. Innocent people would suffer. Excuses from an egoist? Maybe. ”In the introduction to Childless Out of Responsibility , she justifies her decision as follows:

“My decision to remain childless was made very early on. The reasons for this have remained essentially the same to this day. A child-hostile environment, hard to overcome difficulties to combine children and work, the economic dependence on men and thus the loss of independence, with all its consequences for the partnership.

[...] In the fifties I had to make a final decision whether I wanted a child or not. In the meantime I had started to write, I was on the way to a new profession, I left the theater, which was ultimately just a way out. In writing I could do more: educate, encourage, offer help, give food for thought. Should I forego it or only work at half my strength in order to have a child like others? I meant no. Not in this society that needs mothers but pushes them out of public life. "

- Inge Stolten

In the new edition Don't feel like having children? (1988) this statement is missing - in general, the authors reworked the text in large parts. As Stolten explains in the preface, the title was changed because the original one was felt to be too ambiguous: “We do not consider couples with children to be irresponsible.” Numerous passages have been modified or deleted entirely, such as the following observation: “That black Africans have to go hungry so that little Indians have no prospect of schooling [...] - the German citizen sees that on the television screen. But that children are tormented every day in apartments that are too small next to him, that overexcited parents beat their children [...] - that is not perceived with pleasure. "The decisive conclusion of the book remained the same:" For women who do their job at no cost want to give up, childlessness seems to be the only consequence. "

Stolten also devoted himself to issues of women's rights in several other publications. In a short biography of Lily Braun (1981), she regretted that girls still see the profession as a “gateway to marriage” (a quote from Braun). In a radio report on the topic of “women's language - men's language” (1985), she presented demands for gender-equitable language .

euthanasia

As a ten-year-old, Inge Stolten was confronted with the issue of euthanasia due to her father's assisted suicide. In her memoirs, she described the quarrel that broke out between the parents when the mother refused to euthanize the father, and describes the child's reflections on the father's possible right to death: “There is talk of pills and women, which she could certainly get hold of if my mother only wanted it. She obviously hesitates, and I don't know whether I should be happy about it or whether we shouldn't let him die when he wants it so badly ”. In 1970 and 1980 she worked on the topic in two extensive radio features for the NDR, in which she compiled arguments and pleaded for the taboo to be removed.

Works

Theater works (selection)

year title role theatre Director
1941 Protection! (by Gustav Davis) Anny Schauspielhaus Hamburg Robert Meyn
1942 When the young wine blooms (by Björnstjerne Björnton) Anna Schauspielhaus Hamburg Gerhard Bünte
1942 Donna Diana (by Agustín Moreto) Donna Fenisa Schauspielhaus Hamburg Robert Meyn
1942 Cabal and love (by Friedrich Schiller) Luise Kriegsmarine Front Theater East III Paul Thiele
1943 The village near Odessa (by Herbert Reinecker) Anna Maria Schauspielhaus Hamburg Gerhard Bünte
1943 The girl Till (by Wolfgang Gondolatsch and Alexander Deißner) Girl till Theater of the National Socialist Community Strength through Joy (Minsk) Ulrich von der Trenck
1943 The Merchant of Venice (by William Shakespeare) Nerissa Theater of the National Socialist Community Strength through Joy (Minsk) Aenne Wogritsch
1946 As You Like It (by William Shakespeare) Rosalinde New City Theater Kiel Bernhard Minetti
1946 A game of death and love (by Romain Rolland) Lodoïska Carizier New City Theater Kiel Carl Werckshagen
1947 The Devil's General (by Carl Zuckmayer) Anne Eilers New City Theater Kiel Volker Soetbeer
1953 Ten Little Negroes (by Agatha Christie) Vera Claythorn The Young Theater Hamburg Gerlach Fiedler
1955 Penthesilea (by Heinrich von Kleist) Asteria Schauspielhaus Hamburg Heinrich Koch
1955 The robbers (by Friedrich Schiller) Amalia Schauspielhaus Hamburg Günter Meincke

Filmography

year title role
1954 On the sixth floor (TV) "Mrs. Loliau"
1953 Captain Fisby's geishas (TV) "Geisha Lotus Flower"
1958 The man who couldn't say no "Carer"
1967 The Röhm Putsch (TV) Screenwriter (with Axel Eggebrecht )
1967 In the matter of Erzberger against Helfferich (TV) Screenwriter (with Axel Eggebrecht)

Radio reports (selection)

Send date Channel title role
October 30, 1952 NWDR Outside the door (by Wolfgang Borchert) (radio play) "The daughter"
March 17, 1953 RB Company Katharina (by Rudolf Grunert) (radio play) "Esther"
7th December 1955 NWDR But man is good (by Julien Green) (radio play) "Mrs. Berg"
November 18, 1962 NDR What they lived for and what they died for: a conversation after death (radio play) Author
November 2nd, 1964 NDR "Today's apprentices for tomorrow's world": A broadcast about the Vocational Training Act passed by the Bundestag (feature) Author, speaker
August 30, 1966 WDR There is no censorship: Critical discussion of a controversial question (feature) Author, speaker
April 14, 1970 NDR The Right to Death: Considerations (Feature) Author, speaker
5th December 1973 NDR It happened on May 8, 1945 (school radio) Author, speaker
June 12, 1973 NDR Birth - still a risk: maternal and infant mortality in the Federal Republic. A report (feature) Author, speaker
November 12, 1974 NDR Working Women: Second Class People (Feature) Author, speaker
3rd November 1977 NDR Piece of work in the office: a report on the situation of employees (feature) Author, speaker
April 6, 1978 NDR Partnership without having to have a baby: considerations about staying childless (feature) Author, speaker
August 7, 1980 NDR The sorted out person: Thoughts about the achievement society (feature) Author, speaker
November 27, 1980 NDR The right to death (feature) Author, speaker
November 13, 1981 NDR Everyday Life 1933–1939: A Youth in the Third Reich (radio play) Author
February 26, 1985 NDR Men's language - women's language (feature) Author, speaker
March 10, 1985 NDR Computers in the living room: About new jobs (feature) Author, speaker

Book publications and selected articles

  • Inge Stolten: The diary of Jutta S. Report of a healing. Kurt Desch, Munich 1970.
  • Thomas Ayck / Inge Stolten: Childless out of responsibility. Rowohlt, Reinbek 1978.
  • Inge Stolten: Everyday Life in National Socialism . In: Orientation. Reports and analyzes from the work of the Evangelical Academy in Northern Elbe. Vol. 4. Hamburg / Bad Segeberg 1979, pp. 40-42.
  • Inge Stolten: The gentle parka generation. In: Christel Schütz (Ed.): The new ship of fools. Stories for young people. Fischer paperback, Frankfurt a. M. 1980.
  • Inge Stolten: I can't remember the day Hitler “came to power”. In: Charles Schüddekopf (ed.): The everyday fascism. Women in the Third Reich. JHW Dietz Nachf., Berlin / Bonn 1981, pp. 142–161.
  • Inge Stolten: Lily Braun. In: Hans Jürgen Schulz (Ed.): Women. Portraits from two centuries. Kreuz, Stuttgart 1981, pp. 212-225.
  • Inge Stolten (Ed.): The hunger for experience. Women after '45. JHW Dietz Nachf., Berlin / Bonn 1981.
  • Inge Stolten: Not from a good family. In: Inge Stolten (Ed.): The hunger for experience. Women after '45. JHW Dietz Nachf., Berlin / Bonn 1981, pp. 61–82.
  • Inge Stolten: Everyday exile. Life between the swastika and currency reform. JHW Dietz Nachf., Berlin / Bonn 1982.
  • Inge Stolten (Ed.): The hunger for experience. Women after 1945. Fischer Taschenbuch, Frankfurt a. M. 1983.
  • Inge Stolten: State Advanced School. Our school was a challenge for the Nazis . In: Ursel Hochmuth / Hans-Peter de Lorent (ed.): Hamburg: School under the swastika. Contributions from the "Hamburger Lehrerzeitung" (organ of the GEW) and the State History Commission of the VVN / Bund der Antifaschisten. HLZ, Hamburg 1985, pp. 46-50.
  • Thomas Ayck / Inge Stolten: Don't feel like having children? A political pamphlet. Rowohlt, Reinbek 1988.
  • Inge Stolten: Left from the SPD . In: Zeitschrift zur Renewerung der Politik 11, November 3, 1990, p. 9.

literature

  • Katarzyna Sasinowska: The estate of Inge Stolten in the State and University Library Hamburg Carl von Ossietzky. Diploma thesis, Hamburg University of Applied Sciences, Hamburg 1997.
  • Jana Tereick: Stolten, Inge Louise . In: Hamburg biography . Vol. 6, Göttingen 2012, pp. 327–328

Web links

Commons : Inge Stolten  - Collection of images, videos and audio files

See also

Individual evidence

  1. See Sasinowska: Der Nachlaß Inge Stolten , 1997, p. 6 and Stolten: Not from a good home , 1981, p. 62.
  2. a b Interview with Inge Stolten in: taz hamburg , September 5, 1990.
  3. Cf. Sasinowska: Der Nachlass Inge Stolten , 1997, p. 6, and Stolten: Not from a good home , 1981, p. 74.
  4. a b c Stolten: The everyday exile . 1982, p. 69.
  5. See Stolten: Not from a good home , 1981, p. 65.
  6. See Stolten: Not from a good home , 1981, p. 62.
  7. Stolten: Not from a good home , 1981, p. 63.
  8. Cf. Rainer Hering: Hamburg Schools in the “Third Reich” . Volume 2: Appendix. Published by the Association for Hamburg History (= contributions to the history of Hamburg 64). Hamburg University Press, Hamburg 2010, p. 854. ( Open Access ).
  9. See Stolten: Not from a good home , 1981, p. 73.
  10. See Stolten: Staatliche Aufbauschule , 1985, pp. 46–50.
  11. Cf. Rainer Hering: Hamburg Schools in the “Third Reich” . Volume 2: Appendix. Published by the Association for Hamburg History (= contributions to the history of Hamburg 64). Hamburg University Press, Hamburg 2010, p. 854. ( Open Access ).
  12. See Stolten: Not from a good home , 1981, p. 76.
  13. Stolten: Not from a good home , 1981, p. 76.
  14. See Stolten: Das everyday Exil , 1982, p. 54.
  15. Cf. Sasinowska: Der Nachlaß Inge Stolten , 1997, p. 101 and Stolten: Das everyday Exil , 1982, p. 54.
  16. See Stolten: Das everyday Exil , 1982, p. 54 and Sasinowska: Der Nachlaß Inge Stolten , 1997, p. 101.
  17. See Stolten: Das everyday Exil , 1982, p. 62.
  18. See Stolten: Das everyday Exil , 1982, p. 64.
  19. See Stolten: Das everyday Exil , 1982, p. 70.
  20. See Stolten: Das everyday Exil , 1982, p. 73.
  21. See Sasinowska: Der Nachlaß Inge Stolten , 1997, p. 7, 102.
  22. See Stolten: Das everyday Exil , 1982, pp. 79 ff.
  23. See Stolten: Das everyday Exil , 1982, p. 85.
  24. See Stolten: Das everyday Exil , 1982, pp. 104-106.
  25. See Stolten: Das everyday Exil , 1982, p. 113.
  26. Stolten: Not from a good home , 1981, p. 76.
  27. See Stolten: Das everyday Exil , 1982, p. 116.
  28. See Stolten: Not from a good house , 1981, p. 77 and Stolten: Das everyday Exil , 1982, pp. 121–128.
  29. See Stolten: Das everyday Exil , 1982, pp. 119, 131.
  30. See Stolten: Das everyday Exil , 1982, p. 142.
  31. See Stolten: Not from a good home , 1981, p. 79 and Stolten: Das everyday Exil , 1982, pp. 143-145.
  32. See Herbert A. Frenzel , Hans Joachim Moser (Ed.): Kürschner's biographical theater manual. Drama, opera, film, radio. Germany, Austria, Switzerland. De Gruyter, Berlin 1956, DNB 010075518 , p. 724 and Sasinowska: Der Nachlaß Inge Stolten , 1997, p. 8.
  33. See Stolten: Das everyday Exil , 1982, pp. 150, 162.
  34. See Sasinowska: Der Nachlaß Inge Stolten , 1997, p. 102 f.
  35. See Sasinowska: Der Nachlass Inge Stolten , 1997, p. 103.
  36. See Sasinowska: Der Nachlass Inge Stolten , 1997, p. 103.
  37. See Sasinowska: Der Nachlass Inge Stolten , 1997, p. 103.
  38. See Stolten: Das Tagebuch der Jutta S. , 1970, p. 27.
  39. Cf. Sasinowska: Der Nachlaß Inge Stolten , 1997, p. 6. Cf. also Stolten: Das Tagebuch der Jutta S. , 1970, p. 50: “We have known each other for fifteen months - to the day” (entry from August 4, 1956).
  40. Stolten: The diary of Jutta p. 1970, p. 80, as well as Sasinowska: Der Nachlass Inge Stolten . 1997, p. 9.
  41. Stolten: Not from a good home , 1981, p. 81.
  42. A detailed list of Stolten's radio contributions can be found in Sasinowska: Der Nachlaß Inge Stolten , 1997, pp. 28–78. For a selection see under radio reports .
  43. See Sasinowska: Der Nachlaß Inge Stolten , 1997, p. 83.
  44. Cf. Sasinowska: Der Nachlass Inge Stolten , 1997, p. 9.
  45. See Stolten: Das Tagebuch der Jutta S. , 1970, p. 27.
  46. Cf. Sasinowska: Der Nachlass Inge Stolten , 1997, p. 9.
  47. Interview with Inge Stolten in: Neues Deutschland , 4./5. August 1990.
  48. Interview with Inge Stolten in: Neues Deutschland , 4./5. August 1990.
  49. Lothar Bisky : The second departure. Party chairman Lothar Bisky at the Extraordinary Meeting of the 9th Party Congress on July 17th in Berlin. In: Disput 7/2005, available online ( Memento of the original from March 4, 2016 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. . @1@ 2Template: Webachiv / IABot / archiv2007.sozialisten.de
  50. Jürgen Oetting: “I don't think we can do it”. In: taz hamburg , February 4, 1991, p. 21.
  51. ^ Helmut Zessin: Chronicle of the PDS: 1989 to 1997 . Dietz, Berlin 1998, p. 546.
  52. See the short biography of the authors in Ayck / Stolten: Childless out of responsibility . 1978, p. 199.
  53. Stolten: Das Tagebuch der Jutta S. , 1970, p. 30.
  54. See Stolten: Das Tagebuch der Jutta S. , 1970, p. 59.
  55. See Stolten: Das Tagebuch der Jutta S. , 1970, p. 85.
  56. See Stolten: Das Tagebuch der Jutta S. , 1970, p. 256.
  57. See Stolten: Das Tagebuch der Jutta S. , 1970, p. 143.
  58. Stolten: Not from a good home , 1981, p. 81.
  59. Stolten: Not from a good home , 1981, p. 74.
  60. Stolten: Not from a good home , 1981, p. 72.
  61. Stolten: Das everyday Exil , 1982, p. 8, similar to Stolten: Not from a good home , 1981, p. 64.
  62. Stolten: Not from a good home , 1981, p. 62.
  63. See Stolten: Das everyday Exil , 1982, p. 70.
  64. Stolten: Das everyday Exil , 1982, p. 5.
  65. Stolten: Das everyday Exil , 1982, p. 52.
  66. ^ Stolten: Das everyday Exil , 1982, p. 167.Similar to Stolten: Das Tagebuch der Jutta S. , 1970, p. 89
  67. Stolten: The Gentle Parka Generation , 1980.
  68. ^ Stolten: Das everyday Exil , 1982, p. 167.Similar to Stolten: Das Tagebuch der Jutta S. , 1970, p. 89
  69. Ayck / Stolten: Childless Out of Responsibility, 1978, p. 12.
  70. Stolten: Das Tagebuch der Jutta S. , 1970, p. 50.Similar to Stolten: Not from a good home , 1981, p. 80
  71. Ayck / Stolten: Childless Out of Responsibility, 1978, p. 10 f.
  72. Ayck / Stolten: Don't feel like having children? 1988, p. 7.
  73. Ayck / Stolten: Don't feel like having children? 1988, p. 64.
  74. Ayck / Stolten: Don't feel like having children? 1988, p. 151.
  75. See Stolten: Not from a good home , 1981, p. 68. Similarly, Stolten: Das everyday Exil , 1982, p. 10 f.
  76. On the articles from 1952 to 1955 cf. Ulrike Schlieper: radio play 1952–1953. A documentation. Verlag für Berlin-Brandenburg , Potsdam 2004, No. 274, 755, 887, 1187, 1524 and Ulrike Schlieper: Radio play 1954–1955. A documentation . Verlag für Berlin-Brandenburg, Berlin 2007, No. 399, 449, 478, 939, 1224.
  77. On the contributions from 1962 cf. Sasinowska: Inge Stolten's estate , 1997, pp. 28–50.