Word of the Month: Der Dauerbrenner

Word of the Month: Index

A Brenner is a burner (derived from brennen—to burn). Dauer means "duration" and refers to the time something lasts. Used as a prefix, it indicates that something lasts seemingly forever. Thus, a Dauerbrenner refers to an oven that continues to burn while consuming hardly any fuel and without human intervention. Used figuratively, the term refers to something that seems to be going on forever or to someone who has been performing for a long period of time.



Here are some examples demonstrating how broadly the term can be applied: The Lion King has been a Dauerbrenner on Broadway. Willy Nelson has been a Dauerbrenner in country music. And if you're looking for an issue that can be considered a seasonal Dauerbrenner, the so-called "War on Christmas" comes to mind (more on this in my first comment).

And here's an example from a recent issue of a popular German soccer magazine: Under the heading "Die Dauerbrenner" (note that the plural is the same as the singular), it identified the handfull of players who haven't missed a single minute of play so far in the premier German soccer league (the Bundesliga).

Word of the Month: Der Wiedergänger

Word of the Month: Index A dark winter night, a fire in the fireplace illuminating with its flickering light an otherwise dark room—the perfect time to tell a ghost story, perhaps one that involves a Wiedergänger. Wieder is an adverb meaning "again", and a Gänger is a person who walks. In combination, the two words refer to someone who "walks again", i.e., rises from the dead to take care of some unfinished business. Perhaps the most famous Wiedergänger in literature is the ghost of Hamlet's father. One could also view the Guest of Stone from the Don Juan legend as a kind of Wiedergänger: He is a statue on the grave of a man slain by the libidinous Don. The statue comes to life and appears as a dinner guest at the Don's castle to send him to hell as punishment for his sins. Mozart's opera Don Giovanni tells the story in unforgettable music (my drawing on the left depicts the climactic scene). Note that a Wiedergänger is not the same as a zombie: He has a mission and will disappear once this mission has been accomplished, whereas zombies, or the undead, represent a more general menace.

Remark 1: The adverb wieder (again) its not to be confused with the preposition wider (against). Even many Germans are not aware of the distinction and misspell wider as wieder, an understandable mistake as the two words are pronounced exactly the same. Note also that both can be used as a noun or verb prefix. For example, wiederholen (literally "to bring again") means "to repeat", whereas widersprechen (literally "to speak against") means "to contradict".

Remark 2: Gänger appears only as part of a compound noun, never by itself. An example is Doppelgänger, which has made it into English as a psychological term. Other examples: Fuß means "foot", and Fußgänger is the German word for "pedestrian", while Kost means "food", and a Kostgänger is a person who shows up regularly at some place to be fed.

When my wife and I lived in what was then West Berlin in the 1970's, the bell rang one evening, and when we opened the door, there were two boys out there, not older than 10, who asked for dinner. We gave them what was left of ours and let them stay over night. When we told the story to a friend, he called them Trebegänger, a term we had never heard before. It refers to children who ran away from home, or from a home, and are living on the streets. The origin of the word Trebe, which indicates a state of homelessness for children, is not known.

I dedicate this post and my drawing to my late friend Bernd Kraneis, who introduced me to the world of opera. Don Giovanni was one of the first operas we went to see together at the Deutsche Oper in West Berlin.

China 2016 Photobook

My new photobook:
China 2016. A Photo Diary
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Word of the Month: Dolchstoßlegende Revisited

Word of the Month: Index

After the election of Barak Obama in 2008, I introduced Dolchstoßlegende (blaming a defeat on backstabbing at the home front) as Word of the Month. My examples implied that this type of pseudo-explanation is used primarily by the political right as an excuse for a defeat. But the recent election, in which Hillary Clinton lost to Donald Trump, shows that the right has no monopoly on Dolchstoßlegenden (that's the plural).

Two days after the election, Clinton claimed that her defeat was the result of interference by the FBI, whose director, James Comey, had sent a letter to Congress eleven days before the election stating that new e-mails had been discovered which might be pertinent to the Bureau's investigation of whether Clinton had mishandled classified information. The timing of the letter was indeed suspicious—early enough to have an impact on undecided voters, but too late for the Clinton Campaign to weather the storm.

However, we'll probably never know if and to what the degree the letter had an impact on the election—the polls have simply been too unreliable in the last days of the campaign. But even if it influenced some voters, it should not distract from the fact that Clinton simply ran a flawed campaign that failed to read the mood of a significant portion of the electorate correctly. In the words of Sen. Chuck Shumer, a Clinton supporter, “For every blue-collar Democrat we lose in Western Pennsylvania, we will pick up two moderate Republicans in the suburbs in Philadelphia, and you can repeat that in Ohio and Illinois and Wisconsin." This turned out to be a miscalculation and provides a much better explanation for why Clinton lost.

There is also a second form of the Dolchstoßlegende at work in the reaction of some Clinton supporters. This one blames Clinton's loss on the 1% of voters who voted for Jill Stein, the candidate of the Green Party. Yes, if these voters had voted for Clinton, she may have won. But why single them out? Why not blame the Democrats who voted for Trump (9%) or Hispanics (a whopping 29% in spite of Trump's anti-immigration rhetoric)? It makes no sense to arbitrarily blame a particular segment of the electorate when there are other segments Clinton did not reach either. Her campaign simply did not produce a majority in the swing states she needed to win, and this should be blamed on the campaign, first and foremost, and by implication, on its candidate.

But admitting mistakes is hard—I know this from my own experience. It's much easier to blame others and resort to a Dolchstoßlegende, i.e., an excuse disguised as an explanation.

Public Architecture in China Today

In this month's Word of the Month, I pointed out the similarities of public buildings built in China in the 1950s and 60s with those built in Nazi-Germany and the former Soviet Union. But I cannot leave it at that—things have changed, and they have changed dramatically in China. Readers may know the skyline of Pudong, the new financial district of Shanghai, which has become a veritable architectural vanity fair, where each new tower added to the skyline tries to surpass its neighbors not only in height, but also, and especially, through its daring design. Most of them are unabashedly modern, and this is also true for public buildings. We got a glimpse of this new architecture in 2008 during the Beijing Olympics, where the "bird's nest", the main athletic venue, became an icon of the games. The Beijing Opera, or more accurately, the National Center for the Performing Arts, which opened in 2007, is equally modern in its design (top left). On my recent trip, I was particularly taken by the Grand Theater in Chongqing, completed in 2009, which occupies a prominent location on a headland overlooking the Yangtze and Jialing Rivers and appears to be Chongqing's answer to the Sydney Opera House: A building with a unique shape, sitting on an exposed platform jutting into a body of water and destined to become an icon of the city (center and bottom left during the day and night, respectively). It is true that foreign firms are still dominant in the design of these buildings (for example, the French architect Paul Andreu designed the Beijing Center and the German firm van Gerkan, Marg und Partner the Chongqing Theater). But this may change as Chinese architects rise to greater prominence (like Wang Shu, winner of the prestigious Pritzker Prize in 2012). In any case, Chinese authorities appear to be eager to demonstrate to the world that they are as modern in outlook as their Western counterparts.

Word of the Month: Die Herrschaftsarchitektur

On a recent trip to China, I visited Tiananmen Square in Beijing and was struck by the similarities between the buildings flanking it on the east and west and those built in Nazi-Germany or the Soviet Union to house state functions. The similarities between the latter two were already skewered by Osbert Lancaster in his collection of architectural cartoons Pillar to Post (1938; top two drawings on the left). The Great Hall of the People at Tiananmen Square (bottom left) would have provided him with a third example. All of these are instances of Herrschaftsarchitektur. Herrschaft is a general term that can refer to any situation in which someone is Herr (in the sense of "master" or "lord") over someone or something else, like the rule of a certain party or the reign of a certain leader. And Architektur is, of course, a cognate of English "architecture". Herrschaftsarchitektur, then, refers to the buildings a ruling class or party erects to accommodate its operations and, at the same time, express its power and dominance. The latter characteristic is essential: To become Herrschaftsarchitektur, it's not enough that a building be used by a ruling power. It must be intended to symbolize its might and will to rule, often in combination with an attempt to intimidate its subjects. Follow-up: Public Architecture in China Today.

Word of the Month: Zersiedeln, die Zersiedelung

Word of the Month: Index

Like English, German allows for the creation of new verbs by adding a prefix to an existing one. In fact, German offers a broader range of prefixes that can be used to this end, and I will dedicate one of my next posts to this topic.

For starters, let's look at just one of these prefixes, zer-, which has no real equivalent in English. It indicates an action that destroys something. It is particularly expressive because of the sharp z-sound it starts with. For example, reißen means "to tear", and zerreißen means "to tear apart" or "tear to pieces". Our current word of the month is another example. It's formed by adding zer to siedeln (to settle) and means literally to degrade [a countryside] by settlement. Zersiedelung is the noun formed from the verb. The term originated with urban and regional planners and is usually translated as "urban sprawl". But Zersiedelung is somewhat more general—it can happen far away from urban centers.



The image used in this post is a good illustration. It shows how the second-growth forests covering a good portion of Connecticut often look like moth-eaten carpets from the air. Roads through such areas are typically flanked by a monotonous succession of cookie-cutter houses sitting on grounds that have been cleared of all trees, producing, in the worst case, a barren "moonscape". A frequent consequence is habitat destruction. And when the cleared land is covered by a vast lawn that needs regular watering to stay green, there can be a noticeable effect on the water table (I know of a mansion in a neighboring town that needs a second well just for watering more than one acre of grass!).