Andreas Weiland (born October 14, 1944The date is given in: Jürgen Theobaldy (ed.), Und ich bewege mich doch. Gedichte vor und nach 1968. München: Verlag C.H. Beck, 1977, second edition 1978, p.230. , an anthology that includes poems by Andreas Weiland .) is a bilingual poet who writes in English and German.The filmmaker, poet and scholar Massimo Bacigalupo wrote about Weiland: "Ha diretto negli anni '60-'70 una revista d'avanguardia, 'Touch', pubblicato diverse collezioni di liriche, e una nuova traduzione tedesca del poeta cinese Bai Juyi...", see Massimo Bacigalupo and Anna Lucia Giavotto (eds.), Critica del Novecento / Criticizing the Twentieth Century, Genova: Tilgher, 2001, p. 429. The literary and film journal mentioned was mainly in English. It is available in the Bodleian Library, Oxford University.See also his poetry books listed below. His poetry has been praised by fellow poets. Jürgen Theobaldy was the first poet and editor who published him.Theobaldy presented him, together with such poets as Lawrence Ferlinghetti, Charles Bukowski, Nicolas Guillén, Hugo Dittberner, and Ernesto Cardenal, in the poetry journal Benzin (i.e. « Gasoline »), issue no. 4, May 1973; and later in an anthology the title of which – « Und ich bewege mich doch » (« And yet, I move ») – echoes a famous statement attributed to Giordano Bruno: it may have been chosen in order to suggests that the poems selected by Theobaldy breath the rebellious spirit of resistance of the year 1968. - The journal Benzin is listed by the German National Library ().
Nicolas Born called him "a born lyrical poet"."Nicolas Born nannte ihn... « einen geborenen Lyriker »." Source: Weigui Fang, "Nachwort", in: W. Fang (ed.), Den Kranich fragen. 155 Gedichte von Bai Juyi. Göttingen: Cuivillier Verlag, 1999, p. 346. . Erich Fried considered his poems important."Erich Fried zählte seine Gedichte zu den wichtigsten...Arbeiten der letzten Jahre in deutscher Sprache..."(Erich Fried considered his (Weiland's) poems as being among the most important works written in German in recent years), Prof. Fang (distinguished professor, Beijing Normal University) points out. See Weigui Fang, "Nachwort", in: Fang, Den Kranich fragen. p. 346. Many artists and some filmmakers, (including Jean Marie-Straub,See Straub's reactions – in 1975 and 1982 – to poems by Weiland; they are documented further below. Dore O., and Werner NekesAfter being invited by Nekes to see his new film « Ulisses » in 1982, Weiland wrote a long poème en prose (nearly 50 printed pages) that echoed the film . It was published as "Uliisses. Protokoll eines Sehens", in: Walter Schobert (hrsg.), Uliisses: ein Film von Werner Nekes. Mit Textbeiträgen von Bazon Brock, Frieda Grafe, Werner Nekes, Eva M. J. Schmid, Walter Schobert, Andreas Weiland und einem Gespräch zwischen Werner Nekes, Peter Kremski und Detlef Wulke. Köln (Verlag der Buchhandlung Walther König) n.d. (1987), pp. 152-198. - The editor of the book was the director of the German Film Museum at the time.) also praised his poetry. Weiland is also an art and film critic.He has also been described as a townplanning historian, a film critic, art critic, and writer ("Planungstheoretiker, Kunst- und Filmkritiker, Schriftsteller"), see: Doris Schöttler Boll, Dekonstruktionen: oder vom Widersprechen in Bildern. Köln: Rheinland-Verlag, 1987, p. 58. .
Life and work
The early years Weiland was born on October 14, 1944, north-western Germany.See the information provided about the poet by Pavel Branko in the Slovak literary journal Romboid: "Narodil sa roku 1944 v Herforde v rodine aktívnych socialistov...". Pavel Branko, introduction to Weiland's poems, in: Romboid': literaturá, teória, kritika; literárnokritický mesacnik [literary monthly], Bratislava: Slovenský spisovatel̕, Vol. XLIII, No. 8, 2008, S. 67. ISSN 0231-6714. The journal is held by the British Library, University College London, Oxford University, and Glasgow University; it is also listed in the catalogue of the Austrian Landes-libraries (Österreichische Landesbibliotheken), see: and it is also listed in the UniCat (Union Catalogue of Belgian Libraries), see: He studied American literature in Bochum, Germany.Massimo Bacigalupo wrote that Weiland graduated from Bochum University: "Andreas Weiland si é laureato a Bochum con una tesi di narrativa postmoderna americana"; see Massimo Bacigalupo and Anna Lucia Giavotto (eds.), Critica del Novecento / Criticizing the Twentieth Century, Genova: Tilgher, 2001, p. 429.
In 1967 he founded the poetry magazine Touch with Steven R. Diamant. The journal is available in the Yale University Library. Massimo Bacigalupo called it una rivista d'avanguardia ("a journal of the avant-garde").See Massimo Bacigalupo and Anna Lucia Giavotto (eds.), Critica del Novecento / Criticizing the Twentieth Century, Genova: Tilgher, 2001, p. 429. Since 1966, Weiland has translated poetry from Italian,See for instance the poem Esercizio di respirazione, that was written by the filmmaker and poet Guido Lombardi and that was published in Italian and English in the literary journal Touch # 3/4, spring 1969; the journal is available in the Bodleian Library, Oxford University. modern GreekSee his translations of poems by Embirikos, Seferis, and others that were published in the 1960s in diverse issues of the journal hellenika, Zeitschrift für deutsch-griechische kulturelle und wirtschaftliche Zusammenarbeit, edited by Isidora Rosenthal-Karaminea. and PortugueseSee the poems by Dante Milano and Carlos Drummond de Andrade, in Touch # 1 /1967. into English and German. He also translated and published the works of a number of "Angry Young Men", including Pete Brown, Libby Houston, Adrian Mitchell and Frances Horovitz.Prof. Fang mentions Weiland's " Übersetzungen von Adrian Mitchell, Pete Brown, Francis Horovitz (...)"; see Weigui Fang (ed.), Den Kranich fragen, p. 346. Weiland participated in a poetry reading with the British Beat poet Michael Horovitz in Bochum in the late 1960s.The short biographical note in his poetry book, The Kranenburg Poems (2003) says that "Weiland … had his first poetry reading with Mike Horovitz in the '60s." (Andreas Weiland, The Kranenburg Poems, Rotterdam: Symposium Press 2003, p. 83).
In the 1970s, he wrote a poetic text inspired by the video film Herman Dances Alone. In 1975, his poem inspired by Straub-Huillet's film "Moses und Aron" was published in the journal Cahiers du Cinéma. This poem was translated from German to French by Jean-Marie Straub, and appeared in the Cahiers in both languages, accompanied by the commentary "Il comble à peu tous mes espoirs quant au film" ("It encompasses nearly all my hopes with regard to the film").See: Cahiers du Cinéma, n. 258-259 (juillet-août 1975), p. 24. See ; -
Years in Taiwan During the second half of the 1970s, Weiland worked for several years as a lecturer in the German and English departments of a university in Taiwan.SeeJürgen Theobaldy (ed.), Und ich bewege mich doch. Gedichte vor und nach 1968. München: Verlag C.H. Beck, 2nd edn 1978, p. 230; and see also Massimo Bacigalupo and Anna Lucia Giavotto (eds.), Critica del Novecento / Criticizing the Twentieth Century, Genova: Tilgher, 2001, p. 429: "ha insegnato a Taiwan...". In Taiwan, he founded a journal called Street (Jie Tou, 街頭).The price per copy was 25 N.T. (New Taiwan dollars). Twenty N.T. were worth one German Mark at the time. See the cover and back cover of the journal, reproduced in the journal Art in Society, issue 15: . This journal republished an article or articles originally published in 街頭 / Street. During this period, there were many street protests against the Kuomintang (KMT) dictatorship. When Weiland published the work of two writers who had previously been imprisoned by the KMT, the government closed down the journal.The journal Art in Society, issue 15, includes this note: "In the summer of 1977, the bilingual (English-Chinese) journal Street / Jietou, edited by the Culture Study Group at Tamkang College in Tamshui under the direction of Wei Lan-de (=AW) published an article by the director, playwright and scholar Mei-shu HUANG on HUANG's staging of Yao Yi-wei's play "A Suitcase" ( 一口箱子, Yikou xiangzi), accompanied by a review of the performance written by André Jadis. Because the journal was suppressed by the Guomindang regime subsequent to the publication of the issue focused on Yao Yi-wei, P'ai Ch'iu, Yang Kwei and others, and because hardly any libraries can be assumed to possess copies, both articles are now made accessible again in Art in Society, issue 15." Source: N.N., "A Suitcase (一口箱子 ) - A Play by the Taiwan-based Chinese Playwright Yao Yi-wei ( 姚一葦) ", in Art in Society, issue 15, . Wei Lan-de was apparently the Chinese name of Andreas Weiland who signs some articles in Street Voice / Voces de la Calle simply with AW or aw. It is possible that André Jadis is also a pseudonym of Weiland. After all, the antiquated German word "weiland" (English: once (upon a time), Latin: olim) can be translated as "jadis" in French.
According to Weiland's "List of Publications," he also published articles in Chinese magazines, including Yinxiang and Artist Magazine.See his article about the Taiwanese film I'm A Seagull [我是一沙鷗 Wǒ shì yī shā'ōu, starring 林青霞 Lín Qīngxiá (Brigitte Lin), 秦祥林 Qín Xiánglín (Chin Hsiang-lin or Charlie Chin), 劉尚謙 Liu Shangqian, 劉夢燕 Liu Mengyan, etc.; Taiwan 1976. Color. Duration: 1:32:55 ], in: Artist Magazine /藝術家 Yishu Jia (Taipei), No. 19, December 1976, and his article about the Taiwanese film "Mother Is Thirty", in the same journal. Two articles published in Artist Magazine were later republished in a small book, Day for Night in Taipei, Notes of A Cinéaste.See: . Also: RWTH Aachen University, OPAC catalogue An article by him originally published in Yinxiang about a film by the Indonesian film director Wim Umboh was republished in Art in Society.See: Art in Society, issue 6 (). The journal mentions that Weiland interviewed Wim Umboh in Taipei when Umboh's film Plastic Flowers, which was scheduled to be screened during the Taipei International Film Festival of 1978, was outlawed by the KMT regime. Weiland attended a private screening of the forbidden film. Weiland wrote and published articles about art and cinema in Taiwan; his "List of Publications" also mentions a number of articles he wrote in those years about performances of the Cloud Gate Dance Theater.
The 1980s and '90s