Die Weltbühne - Knowledge

816:. Jacobsohn lost an initial lawsuit before the state court at Frankfurt am Main. In the subsequent appeal proceedings before the regional high court at Frankfurt, the publisher's interim owner, Bernd F. Lunkewitz, attempted to reach an out-of-court settlement with Jacobsohn. When the attempt failed, he discontinued the highly loss-making magazine on 6 July 1993. His reasoning: "I do not want to quarrel with Mr. Peter Jacobsohn, heir to the founder of the publishing house. He was racially persecuted in Germany, expropriated and had to emigrate. In order to save the company, I offered to buy it from him for 1 DM. He refused. I then proposed a settlement that was intended to reconcile the morally sound resolution of Mr. Jacobsohn's claims with the interests of the magazine's readers and employees. (...) He decided not to take the publishing house, only the title rights; therefore the magazine can no longer be published." 512: 523:. Jacobsohn's widow Edith took over management of the publishing house in 1927. It soon became apparent that Tucholsky was not comfortable with his position as editor. Ossietzky therefore took over the post in May 1927 and was officially named publisher in October 1927, "with the collaboration of Kurt Tucholsky", as the title page read until 1933. Although von Ossietzky was a completely different kind of editor than Jacobsohn, the fundamental nature of the journal was maintained. From Tucholsky's letters to his wife Mary Gerold, however, it is clear that in 1927 and 1928 he was anything but satisfied with the working methods of his successor. It was only in later years that the two became closer both personally and in their ideas about the content of the paper. In May 1932 Tucholsky finally admitted that Ossietzky had given the paper a "tremendous boost". 25: 379:. After 1916 Jacobsohn, who had made a passionate pacifist commitment in 1915 after the death of his youngest brother at the front, regularly printed advertisements for the subscription of war bonds. It is still not clear whether these advertisements were paid and thus possibly contributed materially to ensuring the magazine's survival. The overall tone of the magazine, which was by no means pacifist and could at best be described as politically changeable, later earned Jacobsohn criticism from among others the journalists 263:(‘The Theater Viewed as a Moral Institution’): “As surely as visual representation has a more powerful effect than lifeless letters and cold narrations, just as surely does the theater have a deeper and longer lasting effect than morals and laws.” This was an indication of how Jacobsohn wanted his enterprise to be understood: as enlightenment in the spirit of classicism. The great importance attached to artistic debates at that time was due in part to the fact that the arts were less subject to repression in the 604: 198: 696:

Since Seidler-Stein tried to replace Budzislawski with another editor, Budzislawski eventually forced him out of the publishing house. Although Budzislawski had no financial reserves, Reichenbach, who lived in Moscow, agreed to a contract in August 1936 that assured both of them equal ownership of the publishing house. Under these conditions, the magazine was able to survive for three more years. In June 1938 the editorial staff moved from Prague to Paris, since the

1334:"The absence of tradition in many subjectively convinced democrats is shown by the fact that they, for their part, made the allegedly exclusively 'Western' character of democracy the basis of their propaganda, tactlessly and untactfully put their anti-Germanism, their enthusiasm for Western democracy, in the foreground, and thus unintentionally aided the reaction in its anti-democratic legend-building. (This ideology is most clearly visible in the circle of the 1280:"The left-wing radical publicists of Kästner’s, Mehring’s or Tucholsky’s sort are the proletarian mimicry of the decayed bourgeoisie. Their function, viewed politically, is not to produce parties but cliques, viewed literarily, not schools but fashions, viewed economically, not producers but agents. And indeed, for fifteen years this left-wing intelligentsia has been the uninterrupted agent of all intellectual activity, from activism to expressionism to 156: 334: 361:

Friedlaender reported under the pseudonym 'Vindex' on monopoly structures in the American tobacco industry. Jacobsohn commented in a fabricated "Answer": "If for nine years the theater and only the theater has been considered here, I have not forfeited the right to consider other things and to have them considered. To plow a field apart from all others has its charms, its advantages, but also its dangers.”

2040: 1063:, where you scratch your butt with your left hand and bore into your schnozz with your right. (...) In Berlin, Teiteles is allowed to calmly write that the 'Kahr government is laughable', but if he comes down to us and says something like that, he’ll get such an old-fashioned Bavarian face-slapping that the fat he's stored up will be beaten right into butter. That's a secret we tell Teiteles." 82: 893:

Jacobsohn gave to a reader toward the end of the First World War: "You complain about the tone of my paper? I have a sure remedy for you: rid me of your readership, and that as quickly as possible. (...) But if this filthy mess should ever come to an end, and if I should live to see it, then a tone will be whistled here, a little tone that will take your hearing and sight away."

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Robert Breuer launched a series of articles critical of the policies of the German government and the political state of the Reich. The series culminated on 23 December with an article entitled “The Crisis of Capitalism”, which concluded with the assessment: "Only the international proletariat can overcome the crisis of capitalism dressed up in national garb."

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important to occasionally draw attention to the imputations against everyone and everything that as a result of an astonishing intellectual licentiousness also make themselves at home there, since the magazine is strangely enough also read here and there in union circles. The democratic member of the

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employee Heinz Pol (nine percent). In July 1935 Nathan-Ludwig sold his shares to Budzislawski's friend Helene Reichenbach, daughter of a Chinese diplomat and businessman. Pol also relinquished his shares in November 1935, so that Seidler-Stein owned two-thirds of the shares and Reichenbach one-third.

663:(‘The New World Stage’). Between 6 April 1933 (No. 14) and 31 August 1939 (No. 35), nearly 4,000 articles appeared. Willi Schlamm became the editorial director and did his job well. Tucholsky praised him especially in a letter to Heinz Pol, saying that he thought Schlamm's articles were "first-rate". 556:

temporarily took over as editor, since Ossietzky had to serve out his prison sentence. During this time the journalist Walther Karsch acted as so-called ‘sitting editor’, i.e. he was the sole person liable in legal disputes and lawsuits, thus protecting the journal’s editors. In the summer Ossietzky,

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that the true enemies of the Republic were to be found on the other side of the political spectrum. A poem by Tucholsky at the end of 1919 stated: "Now I stand up. I am in the know: / After that tiny, great time / Let this be the judgment of the race: / The enemy is on the right! The enemy is on the

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did not have to take into account the interests of a publishing house, a party or advertisers. Jacobsohn also paid little heed to the demands of his readers. "They have only one right: not to read my paper" was the credo of his mentor that Tucholsky often quoted. Characteristic of this was an answer

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in Berlin, Edith Jacobsohn made a break with Schlamm. In March 1934 Budzislawski took over the editorial office in Prague. Even though he immediately changed the magazine’s political stance, he was not able to increase circulation significantly. This was in part due to the fact that when Austria and

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In March 1919 Tucholsky defended himself in the programmatic text "We the Negatives" against accusation that he did not view the new republic positively enough: "We cannot say yes to a people which, even today, is in a condition which, had the war by chance ended favorably, would have led us to fear

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because it is quite obvious that their viewpoint, chosen without regard to racial struggles and accepted by members of all races, is a viewpoint devoid of all responsibility, and it is precisely this irresponsibility – for which, incidentally, Judaism never forgives its racial members – that is the

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stance with a sharp disapproval of anti-Semitic rabble-rousing: "We refuse to defame the authors we oppose as Jews. We refuse to do so not only because we reject anti-Semitic agitation as morally tainted and politically unwise. Rather, we believe that we may not raise a racial objection against the

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government. The campaign "Travelers, avoid Bavaria!" made waves, as is shown by the following reaction in an editorial by its satirical prototype, which is marked by extreme anti-Semitism: "Travelers, avoid Bavaria! That is the title of a piece of tripe what has written Chaim Wrobel, alias Teiteles

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must also – there is no mistaking it – be counted among the gravediggers of the Weimar Republic (...). The metaphor of the gravedigger, as it is still used today, however, needs a correction. In only the rarest cases do the gravediggers cause the death. Rather, they put the corpse, the one already

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A passage from a letter Tucholsky wrote to Walter Hasenclever on 17 May 1933 reads like an anticipated response to postwar critics: "I am slowly becoming a megalomaniac – whenever I read how I have ruined Germany. For twenty years, however, the same thing has always pained me: That I have not been

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cannot however be accused of acting on the basis of purely idealistic and aesthetic values without any interest in exposing concrete abuses. Jacobsohn took a high personal risk when he published the reports on the Feme murders by patriotic associations in 1925. According to Ossietzky, Jacobsohn is

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decided to dismiss Jacobsohn, whose pugnaciousness had already made him disliked by some in the media and theater. Having failed professionally for the time being, Jacobsohn set out on a journey through Europe that lasted several months. On his return he decided to launch his own theater magazine.

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was seen as a bridge to intellectual circles in the West, as well as a way to influence those circles. An application for the reissue of a license certificate in 1962 stated: "It should be particularly emphasized that among these matters, one of the tasks that was considered and accepted was the

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During World War I Jacobsohn managed to have his magazine published regularly despite the difficult conditions. From August 1914 he opened every issue with a political editorial advocating a "patriotic" point of view. In November 1915, under the pseudonym ‘Cunctator’ (Procrastinator), journalist

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was able to have such a substantial impact despite its small circulation can likely be explained only through the person of Siegfried Jacobsohn. Over a period of two decades he succeeded in bringing important representatives of the intellectual left to his paper and ensuring a consistently high

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was banned because of the article, but Jacobsohn was able to ensure the continued appearance of the paper by agreeing to pre-censorship. Transformed into ‘Germanicus’, Breuer returned to the paper in January 1916 as a commentator and, in spite of his pseudonym, led a permanent fight against the

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were personalities, this without a doubt. But this seduced them into an exaggerated search for personality in the political sphere, where, as is well known, the facts are not made of ethereal stuff. A ruling Social Democrat always had the advantage of falling flat as a personality. He was then

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publishing house had fully acknowledged Jacobsohn's claims. The acknowledgment was not withdrawn, and publisher Helmut Reinhardt had assumed until the very end that the case before the regional high court would be won. The editors of the paper were therefore completely surprised by Lunkewitz's

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party congress . Although he is forced to make the statement that the party is on unshakable ground, in revenge he calls it unintellectual. Even if we do not consider as politics the individualistic-anarchistic coffeehouse literacy that makes itself at home in the magazine, it is nevertheless

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deny us the easier possibility which the second rank of this race offers, namely, the possibility of dismissing them by pointing out their linguistic incapacity, in short, their 'jabbering'; Peter Panter, Theobald Tiger – alias Kurt Tucholsky – and also Weinert and Kaminski jabber at most in

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is a tribune in which the entire German left, in the broadest meaning of the word, has a voice; we demand from our staff clarity, personal rectitude and a good style. Whether this principle is correct or not is another question; it is how I took over the paper from my late teacher Siegfried

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changed rapidly. In March 1913 the first "Answers" appeared, a column in which the magazine commented on real or fictitious letters to the editor. More important, however, was Jacobsohn's decision to open his paper to topics from politics and business. On 25 September business lawyer Martin

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In order to keep the paper from appearing too "Tucholsky-heavy", he adopted three pseudonyms in 1913 which he retained until the end of his publishing career: Ignaz Wrobel, Theobald Tiger and Peter Panter (‘panther’). Under the influence of Tucholsky's collaboration, the character of the

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contributed to weakening the deeply stricken republic yet more, even actively and without pardon discrediting it through his criticism from the left. Although von Ossietzky may have believed that he was always fighting for the Republic, in the end the effect that came from the leftist

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will continue to say what it deems necessary; it will remain as independent as before, it will be as polite or impertinent as the respective subject requires. It will retain the courage of its own opinions even in this country trembling under the elephant's tread of fascism."

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that no dog will take a piece of bread from them." Let this be the introduction to the following article." The article that follows begins: The Social Democrats as the greatest intellectual current of the present time ... One can make nothing of such stuff."

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are accused of saying no to everything and of not being positive enough. We do nothing but reject and criticize and even foul our own German nest. And we fight – and this they say is the worst – hatred with hatred, violence with violence, fist with fist."

1384:"Every democracy must be able to tolerate even radical journalistic criticism. But democracies must not allow democratic journalists’ ethics of responsibility to cross the line into principled hostility to the state. In its own way Carl von Ossietzky's 799:

always came across as somewhat more intellectual than other East German magazines, it was still basically faithful to the party line," is Petra Kabus' summary. Its circulation of 170,000 copies was, however, more than ten times that of the original

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The journal went through several phases of development during its existence from 1905 to 1933. Until 1913 its focus was on "all the interests of the theater", as stated in the newspaper's subtitle. In the opening article of its first issue, titled

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Because of the acknowledgement of the plaintiff’s claim, it was never legally clarified whether the title rights had been granted to Jacobsohn's heirs. Although Jacobsohn secured the title rights in the interim, they were never subsequently used.

642:, served as the director of the Vienna branch. The editorial contract between Schlamm and Edith Jacobsohn provided that Carl von Ossietzky take over the editorship of the exile journal in the event of his emigration. But that did not happen. 449:

On 21 November 1918 Jacobsohn published the program of the Council of Intellectual Workers to which he briefly belonged but which he left because he did not want to have his editorial time taken up by a "debating club". Soon after that the

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In 1934 the leadership of the paper was taken out of Schlamm’s hands. He spoke of "extortion and a targeted coup by the communists”. According to historian Alexander Gallus, the events surrounding the change of editorship from Schlamm to

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did not allow itself to be pinned down to the particular political position of any party and did not see its ideas of a democratic and social Germany realized by any of them. Until the end of the Weimar Republic, the paper accused the

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e. From December 1989 until the paper's discontinuation in July 1993, Helmut Reinhardt took over the two roles. The magazine had to be discontinued in part because Peter Jacobsohn claimed the rights to the magazine’s title following

1284:. Its political significance, however, exhausted itself in the transformation of revolutionary reflexes, insofar as they appeared in the bourgeoisie, into objects of diversion, of amusement, which allowed them to feed consumption." 645:

Edith Jacobsohn and her son Peter managed to escape to Switzerland together. From there she tried to continue to exercise influence on the journal, which had been forced to move its editorial headquarters to Prague after

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in 1918, Jacobsohn's editorialist Robert Breuer moved away from his hitherto anti-annexation position and abandoned the paper's previous line in other areas as well. The differences between Breuer, a supporter of the

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In cases of doubt, the editors decided in favor of current political requirements and against the magazine’s tradition, as can be seen from an internal statement from the mid-1950s: "In the past – before 1933 – the

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and was originally a theater magazine only. In 1913 it began covering economic and political topics and for the next two decades was one of the leading periodicals of Germany’s political left. It was renamed to

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has often used the sharpest and harshest wording about German affairs. Because of this it has had to swallow accusations of treason from the right and of irresponsible, carping aesthetics from the left. The

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had already been confiscated several times in Czechoslovakia because of articles critical of Germany. In France as well the authorities banned the paper, and it appeared for the last time on 31 August 1939.

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was not only closely followed – and attacked – by representatives of the radical political right but also admired for its concept and linguistic standards. The nationalist Franz Schauwecker wrote to

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very accurately when he wrote: "Whatever men may rule in Germany at any given time, after the shortest possible interval they will all, without distinction of party, be made so worm-eaten by the

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After the death of his mentor Jacobsohn, Tucholsky gave up his position as correspondent in Paris, returned to Berlin and became – as he derisively called it – "editor-publisher-in-chief" of the

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Verprofiliert. Zur Marbacher Tucholsky-Ausstellung. In: Karl H. Pressler (ed.): Aus dem Antiquariat. (= Börsenblatt für den Deutschen Buchhandel – Frankfurter Ausgabe. Nr. 70, 31. August 1990)

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began examining the cooperation between social democracy and the old army, as well as the inadequate purge of monarchist and anti-republican officials from the judiciary and administration.

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positions was also a reason why they were watched very attentively within journalism and politics. The paper’s class of readers was the cause of a ‘multiplier effect’ that ensured that the

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influencing of intellectual circles at home and abroad, especially in West Germany. The signer of this application received a directive to this effect from the Central Committee of the

409: 552:" (Tucholsky), although cultural life was not completely sidelined. By the beginning of 1932, Tucholsky had resigned and was only sporadically publishing his own works. In May 1932, 1140:

excitement; otherwise they write a German which we would like to wish on the National Socialist press chiefs and student councils along with the faculty for German studies."

152:. About 2,500 authors wrote for the paper between 1905 and 1933. Contributors included many prominent writers and journalists in addition to Jacobsohn, Tucholsky and Ossietzky. 977:

reception and impact, as well as of the tone and content of the debates at the time, is the following ‘Answers’ column that quotes a Social Democratic paper's criticism of the

792:, which means that it naturally and consistently represents the aspirations of the Socialist Unity Party of Germany, without becoming outwardly recognizable as a party organ." 776:, especially under the leadership of Carl von Ossietzky and Kurt Tucholsky, had unfortunately embraced pacifist trends unconditionally. Since our weekly magazine is called the 688:

became part of Germany, important markets for the exile magazine were lost. As a result, Edith Jacobsohn was forced to sell the publishing house and title rights in June 1934.

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form of communism and because Schlamm had made himself unpopular by harshly criticizing both the Communists and the Social Democrats for their role in the Nazi seizure of power

250:(‘In Preface’), Jacobsohn wrote of his conviction that "the character of a nation and a specific time is expressed more vividly in drama than in any other form of literature". 862:

quality of writing. "The man was the most ideal editor our generation has seen," wrote Tucholsky after Jacobsohn's unexpected death in December 1926. Unlike in Karl Kraus's

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said to have seen this as his most important journalistic achievement: "And if I had done nothing other than uncover the Feme murders, that would have been enough for me."

920:. One result of the radicalism was the accusations that the paper had to deal with at the beginning of 1919. Tucholsky summarized them as follows: "We staff members of the 515:

In front of the prison in Berlin-Tegel. From left to right: Kurt Großmann, Rudolf Olden (both German League for Human Rights), Carl von Ossietzky, Apfel (lawyer), Rosenfeld

488:. Although Jacobsohn knew that he was exposing himself to great personal danger, he began on 18 August 1925 to publish manuscripts about the murders provided by the former 828:

stands stunned at the front of the stage, takes off its hat, bows to its loyal audience and lets it be known: We can think of nothing more to say about this dirty trick!"

133:(‘The New World Stage’) until 1939. After the end of World War II, it appeared again under its original name in East Berlin, where it survived until 1993. The magazines 756:

and Hans Leonhard and published by the Weltbühne Publishers in East Berlin. From the U.S. both Peter Jacobsohn and Budzislawski raised objections to the re-founding.

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had a relatively low circulation of about 15,000 copies. It nevertheless made a name for itself in the journalistic world, including through its exposure of the

499:, who was employed by Jacobsohn in April 1926 as editor and lead editorialist. With Jacobsohn's sudden death on 3 December 1926, the continued existence of the 1578: 465:

took a strictly pacifist and anti-militarist course, calling for a harsh reaction by the Republic to the numerous political assassinations and even during the

1918:"Would Tucholsky Have Written for the GDR Weltbühne?" In: In: Stefanie Oswalt (ed.): Die Weltbühne: On the Tradition and Continuity of Democratic Journalism 1748: 1699: 845:. In December 1993 the publishing house changed hands once again and was renamed Webe Publishers and Holding Company. Three years later, in November 1996, 724:

for reasons of personal reputation and as a staunch opponent of Hitler. It must nevertheless be noted that under his editorship, German communists such as

321:. Jacobsohn, however, disapproved of Reinhardt's turn to mass theater in circus arenas, which began in 1910 and eventually led to the construction of the 1914:"Hätte Tucholsky für die DDR-Weltbühne geschrieben?" In: Stefanie Oswalt (Hrsg.): Die Weltbühne: zur Tradition und Kontinuität demokratischer Publizistik 1627: 1476: 2121: 1531: 1314:

waged a daily battle from the very beginning. Tucholsky was a metaphor for all the Jewish shamelessness and impudence of the November Republic."

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of 27–28 February 1933, Ossietzky and other staff members were arrested. After Hellmut von Gerlach fled, Walther Karsch, later co-founder of the

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In August 1993 Lunkewitz finally sold the publishing house and its subscriber list to Peter Großhaus, who at the time also published the former

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because of its anti-militarism reporting also attracted attention beyond its circle of readers. The climax of these conflicts was the so-called

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is shown by the readers' circles that formed in numerous German cities and even in South America. The almost continuous legal disputes that the

2096: 1854: 1667: 431: 1167:, for example, criticized the paper's excessive demands on politicians: "In their intellectual and aesthetic sphere, the protagonists of the 1042:

The paper did not shy away from calling on readers to no longer take vacations in Bavaria in protest against the anti-Jewish policies of the

718:. More recent research, based on an evaluation of the editorial archive, assumes that Budzislawski wanted to take over the leadership of the 511: 1944: 1680: 1565: 1363:

the most typical periodical production of the Weimar state, even though there were never more than 15,000 copies of this weekly printed."

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The buyers were the physicist Albrecht Seidler-Stein (60 percent of the shares), the lawyer Hans Nathan-Ludwig (31 percent) and the former

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banned the publication shortly after it came to power, and the magazine's last issue appeared on 7 March 1933. It continued from exile as

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has always had two significant opposing poles: the parties and the big print media companies," Tucholsky wrote in "Twenty-Five Years”.

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the worst. We cannot say yes to a country obsessed with collectivity, and to which the corporation stands far above the individual.”

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Also noteworthy is a comment by the young conservative publisher Heinrich von Gleichen-Rußwurm, who combined his criticism of the

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and also carries the name of Carl von Ossietzky, it is important to make the aura that these names carry and the tradition of the

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Under the influence of Budzislawski, an economic journalist close to the communists who had been an occasional contributor to the

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This boost was reflected in the circulation, which reached its maximum of 15,000 copies in the early 1930s. The importance of the

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Such independence was also a reason why, despite the not exactly opulent fees, an author like Tucholsky kept returning to the

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Jacobsohn, and it is how I passed it on to Carl von Ossietzky, who did not deviate a finger’s width from this direction. The

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The assessment by Reichstag member Anton Erkelenz quoted above can also be found in similar form in works that deal with the

545:, as a result of which von Ossietzky and the journalist Walter Kreiser were sentenced to 18 months in prison for espionage. 759:

In the years after the war, the magazine found many customers in the Western occupation zones. In the 1950s and 1960s, the

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publisher Erik Weihönig bought the publishing house. Webe was deleted from the commercial register on 29 November 2001.

100:(‘The World Stage’) was a German weekly magazine for politics, art and the economy. It was founded in Berlin in 1905 as 1738:

Paulus Bünzly (1915–1922, 2); Kaspar Hauser (1918–1932, 183); Theobald Körner (1926, 1); Old Shatterhand (1927–1929, 2)

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as useful as possible to the progressive aspirations of today without slipping into unconditional pacifism. The 1954

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This attribution is disputed in research. The Tucholsky Complete Works, for example, does not include the two texts.

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Toward the end of the Weimar Republic, the paper's full concentration was on the fight against the "journey to the

630:(‘Viennese World Stage’). Various Berlin emigrants were already writing for issues 11–13 of 1933. The journalist 228:

reported parallels between reviews written by Jacobsohn and Alfred Gold. Due to the ensuing public outrage, the

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Politische Vernunft für die Verteidigung der Republik gegen ultralinke 'Systemkritik' und Volksfront-Illusionen

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The background to the criticism was probably the fact that from the very beginning of the Weimar Republic, the

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are disputed. Gallus considers Schlamm's supposition plausible because such takeovers were not uncommon under

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since 1915, appealed in vain to Budzislawski to restore the journal's characteristic balance and liberality.

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who had emigrated to Moscow found a forum in the paper. Moreover, Budzislawski avoided reporting on Stalin's

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thus appeared on 7 March 1933 (No. 10) and ended with the defiant assurance: "For the spirit shall prevail.”

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did not allow itself to be committed to a party course. From March 1919 to October 1920, the Social Democrat

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was prepared for the ban on the journal. On 29 September 1932, an offshoot of the journal appeared in Vienna

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was an indirect result of plagiarism involving Siegfried Jacobsohn, the 23-year-old theater critic for the

881:. Jacobsohn always saw himself as the "director of a printed stage", as he wrote in a letter in May 1905. 495:

Leading the way in the further development of the magazine was the commitment of the political journalist

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change from a purely theatrical journal to a "journal of politics, art, and economics" and renamed it the

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were the theater critics Julius Bab, Willi Handl, and Alfred Polgar. In subsequent years writers such as

1001: 561:" statement. A court acquitted him, and he was released from prison at Christmas 1932 under an amnesty. 350:. During his first year of collaboration with Jacobsohn, Tucholsky became his most important associate. 2116: 711: 535: 268: 476:

For this reason the paper also resolutely advocated reconciliation with the opponents of the war. The

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Die neue Weltbühne. Nachdruck der Originalausgabe. 2. Jahrgang der Wiener Weltbühne, 1. Halbjahr 1933

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positions were disseminated in other papers, even if they were often abbreviated and distorted. "The

1658:(1926–1933, 639); Celsus (1927–1933, 31); Thomas Murner (1932, 9); Lucius Schierling (1927–1928, 16) 1105:

advise you to read these two small, splendidly edited weeklies of left-wing democracy. Urgently!"

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On 9 January 1913 the first article by the 23-year-old law student Kurt Tucholsky appeared in the

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Since the original Berlin paper had in the meantime been banned, the journal changed its name to

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on 4 April 1918. After Jacobsohn's death in December 1926, leadership of the magazine passed to

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merely as a communist agent in order to be able to continue running it in the interests of the

586:. The issue planned for March 14 was printed but could not be delivered. The last issue of the 558: 466: 285: 50: 1753: 1612: 1744:

Peter Panter (1913–1933, 525); Theobald Tiger (1913–1932, 405); Ignaz Wrobel (1913–1932, 449)

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From 1967 to 1971, Hermann Budzislawski again served as publisher and editor-in-chief of the

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special position but can rather serve to explain it. In contrast to larger newspapers, the

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and published works there that he could not get printed in middle-class papers like the

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Die Schaubühne – Die Weltbühne 1905–1933, Bibliographie und Register mit Annotationen

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and of not having broken vigorously enough with the traditions of the German Empire.

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unilateral action and added their own statement to his declaration: "The cast of the

376: 317:'s achievements as a theater director and manager in far higher esteem than those of 281: 430:

and Jacobsohn, who was moving more and more toward the position of the more radical

1456: 1318: 485: 172: 1559: 1712: 1672: 1618: 1606: 1492: 1367: 1288: 1281: 1164: 725: 289: 149: 141:(‘The Leaflet’, 1998) have followed in the tradition of their famous role model. 1649: 1088: 1733: 1643: 1597: 1421: 603: 573: 380: 337: 116: 1109:

Cited by: Ulrich Fröschle: "Stefanie Oswalt: Siegfried Jacobsohn (rec.)"; in:

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was considered the forum for the radical-democratic bourgeois left during the

2065: 1685: 1661: 1570: 1052: 631: 314: 264: 877:(‘Future’), the editor's writing even at the beginning did not dominate the 1767: 1727: 1068: 789: 729: 639: 549: 481: 253:

The motto displayed on the cover of the first four issues was a quote from

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Die neue Weltbühne. Nachdruck der Originalausgabe Prag/Paris 4/1933–8/1939

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In spite of the constant criticism of the SPD, it was always clear to the

175:

paramilitary groups as well as reports about the secret rearmament of the

1544: 1442: 1436: 733: 672: 310: 309:

As a theater critic, Jacobsohn was the antithesis of the "culture pope"

1920:] (in German). St. Ingbert: Röhrig Universitätsverlag. p. 216. 1427: 1322: 1311: 1234:

consciously refrains from rigid dogma; among us there is discussion."

841: 565: 503:, which at the time had a circulation of around 12,500, came in doubt. 318: 176: 124: 155: 1793:

Die Wiener Weltbühne. Nachdruck der Originalausgabe. 1. Jahrgang 1932

1056: 557:

who was still in prison, was also charged on account of Tucholsky’s "

489: 408: 333: 1409: 274:

Among the most important contributors during the early phase of the

1870:

Heimat Weltbühne. Eine Intellektuellengeschichte im 20. Jahrhundert

1073: 685: 1874:

Homeland Weltbühne. A History of Intellectuals in the 20th Century

568:

on 30 January 1933, it was to be foreseen that the banning of the

1591: 1359:

dead, under the earth. (...) I have no hesitation in calling the

1135:

object of our criticism. In addition to this, the authors of the

1781:

Die Schaubühne. Vollständiger Nachdruck der Jahrgänge 1905–1918.

2039: 1787:

Die Weltbühne. Vollständiger Nachdruck der Jahrgänge 1918–1933.

506: 434:, eventually led to the departure of ‘Germanicus’. During the 313:. Unlike Kerr he was a resolute critic of naturalism and held 704:

Budzislawski has often been accused of having taken over the

582:(‘Berlin Daily Mirror’), took over as editor-in-chief of the 81: 1717:

K. L. Gerstorff (1930–1933, 57); Thomas Tarn (1931–1933, 18)

1122:

seems to have provided a model for some nationalist papers.

996: 743: 189: 951:(SPD) in particular of having betrayed the ideals of the 995:, a certain Carl von Ossietzky polemicizes against the 469:

urging fulfillment of the peace terms laid down in the

1876:] (in German). Göttingen: Wallstein. p. 212. 1497:

Conrad Schulter (1926, 1); Arthur Eloesser (1870–1938)

598: 403: 390:

On 4 April 1918 Jacobsohn finally took account of the

1890: 2055:(1905-1918): University of Michigan Digital Library 1400:, "Leopold Schwarzschild contra Carl v. Ossietzky. 1204:able to remove even one policeman from his post." 1115:, nr. 3, December 2000, p. 463–466, here: p. 463. 987:: "You are annoyed with us and now write: 'In the 480:did a special service by drawing attention to the 328: 144:Appearing in the form of a small red booklet, the 1410:Well-known and important contributors (1905–1933) 1055:city Berlin. He is, like all new Berliners, from 819:As an advance concession for the settlement, the 2082:Defunct political magazines published in Germany 2063: 1463:Cunctator (1915, 7); Germanicus (1916–1918, 117) 1414:Name (Contributed from - to, Number of Articles) 1217: 260:Die Schaubühne als moralische Anstalt betrachtet 1039:", in Die Weltbühne, 27 November 1919, p. 674. 993:Weekly Journal for Politics, Art, and Economics 288:and Harry Kahn, as well as the theater critic 222:(‘World on Monday’). On 12 November 1904, the 736:. In 1937 Kurt Hiller, a staff member of the 648:the Austrian Parliament was deprived of power 1401: 1376: 1370: 1346: 1326: 1298: 1292: 1268: 1245: 1239: 1209: 1187: 1181: 1151: 1145: 1110: 1096: 1034: 982: 930: 915: 884:The low circulation does not contradict the 872: 863: 719: 705: 658: 625: 607: 577: 507:Fight against National Socialism (1927–1933) 391: 369: 355: 345: 300: 293: 275: 258: 245: 238: 229: 217: 211: 201: 128: 101: 1833:] (in German). Stuttgart. pp. VI. 1461:(aka Lucien Friedlaender) (1911–1931, 93); 1331:, Berlin 1959. Reprint Munich 1978, p. 42. 1241:Die Rolle des Intellektuellen in der Partei 1853:: CS1 maint: location missing publisher ( 1156:, 30 October 1931, p. 830f., here p. 830. 1047:Tucholsky, alias Isak Achselduft , in the 1783:Athenäum Verlag, Königstein/Ts. 1978–1980 1325:. Cited from: Léon Poliakow, Josef Wulf: 1172:called, for example, "fountain pen owner 69:Learn how and when to remove this message 2002: 1992:(in German). Vol. 8. pp. A336. 744:Party newspaper after the war: 1946–1993 602: 510: 407: 332: 196: 154: 80: 32:This article includes a list of general 2122:Cultural magazines published in Germany 852: 2064: 1987: 1973:[KTG Newsletter August 2003]. 1896: 1867: 1824: 1310:and especially against Tucholsky, the 1091:in January 1926: "You don’t know the 2097:Weekly magazines published in Germany 1911: 1907: 1905: 1831:German Exile Literature – Exile Press 1406:, . Frankfurt a. M. 1983, pp. 77–83. 1192:, 1978, 42, p. 239–249, here p. 249. 593: 1942: 1789:Athenäum Verlag, Königstein/Ts. 1978 1004:Erkelenz recently characterized the 18: 1943:Litz, Christian (6 November 2020). 1827:Deutsche Exilliteratur – Exilpresse 1321:in a letter from 7 January 1937 to 958:The radicalism and openness of the 599:The volatile exile years: 1933–1939 432:Independent Social Democratic Party 418:After the initial successes of the 404:Revolution and republic (1918–1926) 179:, which later led to the so-called 13: 1902: 1488:Johannes Fischart (1918–1926, 128) 1372:Eine Republik und ihre Zeitschrift 1183:Eine Republik und ihre Zeitschrift 572:would follow. On the night of the 38:it lacks sufficient corresponding 14: 2133: 2092:Defunct German-language magazines 2077:1993 disestablishments in Germany 2033: 1328:Das Dritte Reich und seine Denker 564:With the seizure of power by the 2107:Magazines disestablished in 1993 2038: 1947:[Capn, we are sinking]. 768:soon after the currency union." 766:Socialist Unity Party of Germany 446:wrote the political editorials. 425:Majority Social Democratic Party 23: 2020: 2011: 1163:from a historical perspective. 329:Opening to politics (1913–1918) 298:(‘The Mirror’) merged with the 2072:1905 establishments in Germany 1996: 1981: 1963: 1936: 1924: 1861: 1818: 436:German Revolution of 1918–1919 271:than politics and journalism. 190:Origin and development of the 1: 2112:Magazines published in Berlin 2102:Magazines established in 1905 1811: 1506:J. L. Wetcheek (1926–1927, 2) 788:supports the policies of the 325:(‘Great Theater’) in Berlin. 1825:Walter, Hans-Albert (1972). 1303:(1931), Vol. 1, p. 181–184. 163:Even at its high point, the 7: 1975:Kurt Tucholsky-Gesellschaft 1971:"KTG Rundbrief August 2003" 1774: 1472:Ulrich Schweitzer (1933, 1) 1348:Die Zerstörung der Vernunft 901:, 21 October 1918, p. 424. 461:In the following years the 10: 2138: 2007:(in German). Munich: Saur. 2003:Bergmann, Joachim (1991). 1868:Gallus, Alexander (2012). 1555:Dr. Balduin (1905–1912, 2) 790:German Democratic Republic 712:Communist Party of Germany 536:Ministry of the Reichswehr 375:annexation demands of the 1977:(in German). August 2003. 1381:, 1978, 42, pp. 239–249. 939:, 13 March 1919, p. 279. 239:Theater phase (1905–1913) 1521:Lorarius (1917–1918, 20) 1214:, Reinbek, 1969, p. 24. 119:, who turned it over to 2017:Also several pseudonyms 1988:Herbst, Helmut (1990). 1609:(1905–1929 (postum), 6) 1277:, 10 May 1932, p. 692. 1250:, 1929, No. 9, p. 250. 1095:? And the very similar 1021:, 7 June 1927, p. 920. 991:, which calls itself a 949:Social Democratic Party 716:Communist International 420:German spring offensive 53:more precise citations. 1933:, 6 July 1993. p. 833. 1639:Morus (1921–1931, 389) 1402: 1377: 1371: 1347: 1327: 1299: 1293: 1269: 1246: 1240: 1210: 1188: 1182: 1152: 1146: 1111: 1097: 1035: 983: 973:Characteristic of the 931: 916: 873: 864: 720: 706: 659: 626: 613: 608: 578: 559:soldiers are murderers 516: 467:occupation of the Ruhr 415: 392: 370: 356: 346: 341: 301: 294: 276: 259: 246: 230: 218: 212: 207: 202: 160: 129: 102: 90: 16:German weekly magazine 2047:at Wikimedia Commons 1912:Kabus, Petra (2003). 1602:Heinz Jäger (1929, 2) 1267:Carl von Ossietzky: " 616:The publisher of the 606: 514: 492:member Carl Mertens. 411: 336: 323:Großes Schauspielhaus 200: 158: 89:from February 2, 1930 84: 1579:Hanns-Erich Kaminski 1553:(1905–1926, 1,796); 1468:Hermann Budzislawski 1447:Karl Knerz (1931, 2) 1432:Fero (1905–1923, 27) 1253:"Over the years the 1218:Judgments about the 984:Volksblatt für Halle 853:Reception and impact 814:German reunification 669:Hermann Budzislawski 471:Treaty of Versailles 123:in May of 1927. The 1945:"Käptn, wir sinken" 1623:Olf (1918–1919, 32) 1613:Else Lasker-Schüler 1551:Siegfried Jacobsohn 1526:Ferdinand Hardekopf 1511:Hellmut von Gerlach 1393:was destructive." 1147:Kulturbolschewisten 953:November Revolution 870:Maximilian Harden's 579:Berlin Tagesspiegel 554:Hellmut von Gerlach 159:Siegfried Jacobsohn 108:Siegfried Jacobsohn 106:(‘The Theater’) by 1700:Hermann Sinsheimer 1656:Carl von Ossietzky 1519:(1918–1932, 119); 1517:Alfons Goldschmidt 1430:(1905–1926, 339); 1398:Hans-Ulrich Wehler 1300:Die Gesellschaft 8 1180:Rudolf Augstein: " 1080:, 2 February 1921 1017:“Answers,” in the 917:Berliner Tageblatt 857:The fact that the 754:Maud von Ossietzky 752:was re-founded by 660:Die neue Weltbühne 614: 609:Die neue Weltbühne 594:Successor journals 517: 497:Carl von Ossietzky 416: 413:Carl von Ossietzky 342: 269:Emperor Wilhelm II 255:Friedrich Schiller 225:Berliner Tageblatt 210:The foundation of 208: 161: 130:Die neue Weltbühne 121:Carl von Ossietzky 91: 85:Cover page of the 2117:Theatre magazines 2043:Media related to 1883:978-3-8353-1117-6 1736:(1913–1932, 64); 1694:Friedrich Sieburg 1637:(1921–1932, 22); 1628:Richard Lewinsohn 1621:(1916–1933, 32); 1504:(1908–1931, 94); 1502:Lion Feuchtwanger 1495:(1925–1933, 48); 1445:(1919–1930, 19); 1338:of that time.)" 1294:Linke Melancholie 1238:Kurt Tucholsky: " 1211:Politische Briefe 929:Kurt Tucholsky: “ 911:Vossische Zeitung 897:“Answers” in the 837:Free German Youth 652:Engelbert Dollfuß 377:Pan-German League 282:Lion Feuchtwanger 137:(since 1997) and 79: 78: 71: 2129: 2042: 2027: 2024: 2018: 2015: 2009: 2008: 2000: 1994: 1993: 1985: 1979: 1978: 1967: 1961: 1960: 1958: 1956: 1940: 1934: 1928: 1922: 1921: 1909: 1900: 1894: 1888: 1887: 1865: 1859: 1858: 1852: 1844: 1822: 1757: 1749:Käthe Vordtriede 1722:Heinrich Ströbel 1715:(1931–1932, 3); 1708: 1689: 1676: 1664:(1905–1933, 742) 1636: 1588:(1921–1933, 101) 1587: 1575:(1907–1930, 144) 1574: 1547:(1915–1933, 167) 1540: 1513:(1919–1933, 124) 1485: 1477:Erich Dombrowski 1470:(1932–1933, 9); 1460: 1424:(1925–1933, 174) 1405: 1380: 1374: 1350: 1330: 1319:Alfred Rosenberg 1302: 1296: 1272: 1249: 1243: 1213: 1208:Kurt Tucholsky: 1191: 1185: 1155: 1149: 1114: 1100: 1038: 1033:Kaspar Hauser: " 986: 934: 919: 876: 867: 723: 709: 662: 629: 627:Wiener Weltbühne 611: 581: 486:Black Reichswehr 444:Heinrich Ströbel 395: 373: 359: 349: 304: 297: 279: 262: 249: 233: 221: 215: 205: 173:Black Reichswehr 132: 105: 74: 67: 63: 60: 54: 49:this article by 40:inline citations 27: 26: 19: 2137: 2136: 2132: 2131: 2130: 2128: 2127: 2126: 2062: 2061: 2036: 2031: 2030: 2025: 2021: 2016: 2012: 2001: 1997: 1986: 1982: 1969: 1968: 1964: 1954: 1952: 1941: 1937: 1929: 1925: 1910: 1903: 1895: 1891: 1884: 1866: 1862: 1846: 1845: 1841: 1823: 1819: 1814: 1777: 1770:(1914–1932, 69) 1764:(1907–1921, 58) 1751: 1730:(1920–1932, 50) 1724:(1919–1920, 87) 1713:Fritz Sternberg 1709:(1905–1914, 53) 1702: 1696:(1921–1925, 17) 1683: 1677:(1927–1934, 14) 1670: 1652:(1908–1932, 54) 1646:(1920–1933, 90) 1630: 1619:Rudolf Leonhard 1615:(1905–1932, 15) 1607:Gustav Landauer 1594:(1914–1928, 34) 1581: 1568: 1562:(1926–1933, 87) 1541:(1914–1925, 44) 1534: 1493:Axel Eggebrecht 1479: 1454: 1439:(1922–1932, 72) 1412: 1368:Rudolf Augstein 1289:Walter Benjamin 1282:New Objectivity 1223: 1165:Rudolf Augstein 1130:authors of the 855: 746: 726:Walter Ulbricht 684:soon after the 634:, a student of 601: 596: 509: 406: 331: 290:Herbert Ihering 241: 195: 150:Weimar Republic 75: 64: 58: 55: 45:Please help to 44: 28: 24: 17: 12: 11: 5: 2135: 2125: 2124: 2119: 2114: 2109: 2104: 2099: 2094: 2089: 2084: 2079: 2074: 2058: 2057: 2053:Die Schaubühne 2035: 2034:External links 2032: 2029: 2028: 2019: 2010: 1995: 1980: 1962: 1935: 1923: 1901: 1899:, p. 221. 1889: 1882: 1860: 1839: 1816: 1815: 1813: 1810: 1809: 1808: 1802: 1796: 1790: 1784: 1776: 1773: 1772: 1771: 1765: 1759: 1758:(1926–1933, 2) 1746: 1734:Kurt Tucholsky 1731: 1725: 1719: 1710: 1697: 1691: 1690:(1928–1932, 5) 1678: 1665: 1659: 1653: 1647: 1644:Walter Mehring 1641: 1625: 1616: 1610: 1604: 1598:Walter Kreiser 1595: 1589: 1576: 1563: 1557: 1548: 1542: 1532:Moritz Heimann 1529: 1523: 1514: 1508: 1499: 1490: 1474: 1465: 1449: 1440: 1434: 1425: 1422:Rudolf Arnheim 1416:; Pseudonym(s) 1411: 1408: 1351:. Berlin 1954 1222: 1216: 1174:Hermann Müller 1112:Wirkendes Wort 868:(‘Torch’) and 854: 851: 745: 742: 721:Neue Weltbühne 707:Neue Weltbühne 650:by Chancellor 600: 597: 595: 592: 574:Reichstag fire 508: 505: 405: 402: 381:Franz Pfemfert 340:in Paris, 1928 338:Kurt Tucholsky 330: 327: 240: 237: 231:Welt am Montag 219:Welt am Montag 213:Die Schaubühne 203:Die Schaubühne 194: 188: 117:Kurt Tucholsky 103:Die Schaubühne 77: 76: 31: 29: 22: 15: 9: 6: 4: 3: 2: 2134: 2123: 2120: 2118: 2115: 2113: 2110: 2108: 2105: 2103: 2100: 2098: 2095: 2093: 2090: 2088: 2087:Exilliteratur 2085: 2083: 2080: 2078: 2075: 2073: 2070: 2069: 2067: 2060: 2056: 2054: 2050: 2049: 2048: 2046: 2041: 2023: 2014: 2006: 1999: 1991: 1984: 1976: 1972: 1966: 1950: 1946: 1939: 1932: 1931:Die Weltbühne 1927: 1919: 1915: 1908: 1906: 1898: 1893: 1885: 1879: 1875: 1871: 1864: 1856: 1850: 1842: 1840:3-476-00385-X 1836: 1832: 1828: 1821: 1817: 1806: 1803: 1800: 1797: 1794: 1791: 1788: 1785: 1782: 1779: 1778: 1769: 1766: 1763: 1762:Robert Walser 1760: 1755: 1750: 1747: 1745: 1743: 1739: 1735: 1732: 1729: 1726: 1723: 1720: 1718: 1714: 1711: 1706: 1701: 1698: 1695: 1692: 1687: 1682: 1679: 1674: 1669: 1666: 1663: 1662:Alfred Polgar 1660: 1657: 1654: 1651: 1648: 1645: 1642: 1640: 1634: 1629: 1626: 1624: 1620: 1617: 1614: 1611: 1608: 1605: 1603: 1600:(1898–1958); 1599: 1596: 1593: 1590: 1585: 1580: 1577: 1572: 1567: 1564: 1561: 1560:Erich Kästner 1558: 1556: 1552: 1549: 1546: 1543: 1538: 1533: 1530: 1527: 1524: 1522: 1518: 1515: 1512: 1509: 1507: 1503: 1500: 1498: 1494: 1491: 1489: 1483: 1478: 1475: 1473: 1469: 1466: 1464: 1458: 1453: 1452:Robert Breuer 1450: 1448: 1444: 1441: 1438: 1435: 1433: 1429: 1426: 1423: 1420: 1419: 1418: 1417: 1407: 1404: 1399: 1396: 1392: 1387: 1382: 1379: 1373: 1369: 1366: 1362: 1357: 1352: 1349: 1344: 1341: 1337: 1332: 1329: 1324: 1320: 1317: 1313: 1309: 1306:"Against the 1304: 1301: 1295: 1290: 1287: 1283: 1278: 1276: 1275:Die Weltbühne 1271: 1266: 1261: 1256: 1251: 1248: 1242: 1237: 1233: 1228: 1221: 1215: 1212: 1207: 1201: 1198: 1193: 1190: 1184: 1179: 1175: 1170: 1166: 1162: 1157: 1154: 1148: 1143: 1138: 1133: 1128: 1123: 1121: 1116: 1113: 1108: 1104: 1099: 1094: 1090: 1086: 1081: 1079: 1076: 1075: 1070: 1066: 1062: 1058: 1054: 1050: 1045: 1040: 1037: 1032: 1027: 1022: 1020: 1016: 1011: 1007: 1003: 998: 994: 990: 985: 980: 976: 971: 969: 965: 961: 956: 954: 950: 945: 940: 938: 937:Die Weltbühne 933: 932:Wir Negativen 928: 923: 918: 913: 912: 907: 902: 900: 896: 891: 887: 882: 880: 875: 871: 866: 860: 850: 848: 844: 843: 838: 833: 829: 827: 822: 817: 815: 810: 805: 803: 798: 793: 791: 787: 783: 779: 775: 769: 767: 762: 757: 755: 751: 741: 739: 735: 731: 727: 722: 717: 713: 708: 702: 699: 698:New Weltbühne 694: 689: 687: 682: 678: 674: 670: 664: 661: 656: 653: 649: 643: 641: 637: 633: 632:Willi Schlamm 628: 623: 619: 610: 605: 591: 589: 585: 580: 575: 571: 567: 562: 560: 555: 551: 546: 544: 542: 537: 534:had with the 533: 529: 524: 522: 513: 504: 502: 498: 493: 491: 487: 483: 479: 474: 472: 468: 464: 459: 455: 453: 447: 445: 441: 437: 433: 429: 426: 421: 414: 410: 401: 399: 394: 388: 386: 382: 378: 372: 366: 362: 358: 351: 348: 339: 335: 326: 324: 320: 316: 315:Max Reinhardt 312: 307: 305: 303: 296: 291: 287: 286:Robert Walser 283: 278: 272: 270: 266: 265:German Empire 261: 256: 251: 248: 236: 232: 227: 226: 220: 214: 204: 199: 193: 187: 185: 183: 178: 174: 170: 166: 157: 153: 151: 147: 142: 140: 139:Das Blättchen 136: 131: 126: 122: 118: 114: 113:Die Weltbühne 109: 104: 99: 98: 97:Die Weltbühne 93: 88: 83: 73: 70: 62: 52: 48: 42: 41: 35: 30: 21: 20: 2059: 2052: 2037: 2022: 2013: 2004: 1998: 1989: 1983: 1974: 1965: 1953:. Retrieved 1948: 1938: 1930: 1926: 1917: 1913: 1892: 1873: 1869: 1863: 1830: 1826: 1820: 1804: 1798: 1792: 1786: 1780: 1768:Arnold Zweig 1741: 1740: 1737: 1728:Ernst Toller 1716: 1668:Walther Rode 1650:Erich Mühsam 1638: 1622: 1601: 1554: 1520: 1505: 1496: 1487: 1471: 1462: 1446: 1431: 1415: 1413: 1394: 1390: 1385: 1383: 1364: 1360: 1355: 1353: 1343:Georg Lukacs 1339: 1335: 1333: 1315: 1307: 1305: 1285: 1279: 1274: 1270:Rechenschaft 1264: 1259: 1254: 1252: 1235: 1231: 1226: 1224: 1219: 1205: 1202: 1196: 1194: 1177: 1168: 1160: 1158: 1141: 1136: 1131: 1126: 1124: 1119: 1118:Indeed, the 1117: 1106: 1102: 1092: 1089:Ernst Jünger 1084: 1082: 1077: 1072: 1069:Ludwig Thoma 1064: 1048: 1041: 1030: 1025: 1023: 1018: 1014: 1009: 1005: 992: 988: 978: 974: 972: 967: 963: 959: 957: 943: 941: 936: 926: 921: 909: 905: 903: 898: 894: 889: 885: 883: 878: 858: 856: 840: 834: 830: 825: 820: 818: 808: 806: 801: 796: 794: 785: 781: 777: 773: 770: 760: 758: 749: 748:In 1946 the 747: 737: 730:Franz Dahlem 703: 697: 692: 690: 680: 676: 665: 654: 644: 640:Leon Trotsky 621: 617: 615: 587: 583: 569: 563: 547: 540: 531: 527: 525: 520: 518: 500: 494: 482:Feme murders 477: 475: 462: 460: 456: 451: 448: 439: 427: 417: 397: 393:Schaubühne’s 389: 367: 363: 352: 343: 308: 299: 273: 252: 242: 223: 209: 191: 181: 169:Feme murders 164: 162: 145: 143: 138: 134: 112: 96: 95: 94: 92: 86: 65: 56: 37: 1951:(in German) 1897:Gallus 2012 1752: [ 1703: [ 1684: [ 1671: [ 1631: [ 1582: [ 1569: [ 1545:Kurt Hiller 1535: [ 1528:(1906–1907) 1480: [ 1455: [ 1443:Ernst Bloch 1437:Adolf Behne 1378:Der Spiegel 1189:Der Spiegel 1127:Weltbühne's 1067:Anonymous ( 975:Weltbühne's 964:Weltbühne’s 960:Weltbühne's 886:Weltbühne's 734:great purge 686:Saar region 550:Third Reich 484:within the 311:Alfred Kerr 295:Der Spiegel 51:introducing 2066:Categories 1955:6 November 1949:brand eins 1812:References 1681:Erik Reger 1566:Harry Kahn 1428:Julius Bab 1323:Robert Ley 1057:Krotoschin 1036:Morgenpost 842:Junge Welt 839:newspaper 636:Karl Kraus 566:Nazi Party 385:Karl Kraus 371:Schaubühne 357:Schaubühne 347:Schaubühne 319:Otto Brahm 302:Schaubühne 277:Schaubühne 247:Zum Geleit 192:Schaubühne 177:Reichswehr 125:Nazi Party 34:references 2045:Weltbühne 1849:cite book 1391:Weltbühne 1386:Weltbühne 1361:Weltbühne 1356:Weltbühne 1336:Weltbühne 1308:Weltbühne 1260:Weltbühne 1255:Weltbühne 1247:Die Front 1232:Weltbühne 1227:Weltbühne 1220:Weltbühne 1197:Weltbühne 1169:Weltbühne 1161:Weltbühne 1137:Weltbühne 1132:Weltbühne 1120:Weltbühne 1101:? Then I 1093:Weltbühne 1085:Weltbühne 1071:) in the 1049:Weltbühne 1026:Weltbühne 1019:Weltbühne 1010:Weltbühne 1006:Weltbühne 1002:Reichstag 989:Weltbühne 979:Weltbühne 968:Weltbühne 944:Weltbühne 922:Weltbühne 906:Weltbühne 899:Weltbühne 890:Weltbühne 879:Weltbühne 859:Weltbühne 826:Weltbühne 821:Weltbühne 802:Weltbühne 797:Weltbühne 786:Weltbühne 782:Weltbühne 778:Weltbühne 774:Weltbühne 761:Weltbühne 750:Weltbühne 738:Weltbühne 693:Weltbühne 681:Weltbühne 618:Weltbühne 588:Weltbühne 584:Weltbühne 570:Weltbühne 541:Weltbühne 532:Weltbühne 528:Weltbühne 521:Weltbühne 501:Weltbühne 490:Freikorps 478:Weltbühne 463:Weltbühne 452:Weltbühne 440:Weltbühne 398:Weltbühne 257:'s essay 182:Weltbühne 165:Weltbühne 146:Weltbühne 135:Ossietzky 87:Weltbühne 59:June 2021 1775:Reprints 1297:" , in: 1273:" , in: 1244:” , in: 1186:" , in: 1153:Der Ring 1103:urgently 1098:Tagebuch 1078:Anzeiger 1074:Miesbach 1029:right!" 935:” , in: 809:Weltbühn 795:"If the 714:and the 673:Stalin's 1592:Klabund 1061:Galicia 1051:in the 914:or the 874:Zukunft 847:Titanic 171:by the 47:improve 1880: 1837: 1801:. o.A. 1795:. o.A. 1150:," in 865:Fackel 612:(1936) 438:, the 267:under 206:(1906) 36:, but 1916:[ 1872:[ 1829:[ 1756:] 1707:] 1688:] 1675:] 1635:] 1586:] 1573:] 1539:] 1484:] 1459:] 1375:, in 1354:"The 1312:NSDAP 1225:"The 1053:Spree 543:trial 184:Trial 1957:2020 1878:ISBN 1855:link 1835:ISBN 1195:The 1083:The 1044:Kahr 997:Kiel 728:and 638:and 624:the 383:and 368:The 1291:: “ 1176:". 1059:in 2068:: 1904:^ 1851:}} 1847:{{ 1754:de 1705:de 1686:de 1673:de 1633:de 1584:de 1571:de 1537:de 1486:; 1482:de 1457:de 1395:-- 1365:-- 1345:: 1340:-- 1265:-- 1236:-- 1206:-- 1178:-- 1142:-- 1107:-- 1065:-- 1031:-- 1015:-- 981:: 927:-- 895:-- 804:. 473:. 400:. 387:. 306:. 284:, 186:. 1959:. 1886:. 1857:) 1843:. 1807:. 1742:; 1316:– 1286:– 1144:" 677:. 655:. 622:, 428:, 72:) 66:( 61:) 57:( 43:.

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