reorganisation and destruction of irish catholic churches
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Heavens above… Cathedral roofers stop mugger
Four men working on the roof of St Mel’s Cathedral
apprehended a mugger last week.“I wasn’t worried – when I saw the poor old lady on the footpath I had to try and stop him”
Niall Headen
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Published Date:
30 July 2010
By Ailbhe Gillespie
It may have been the hand of God, or it might have been just good luck, either way, the heavenly view afforded to workers on the roof of St Mel’s Cathedral led to the arrest of a mugger this week.
Four men working on the roof of the Cathedral became have-a-go heroes when they apprehended a mugger and kept him secure until the Gardai arrived on the scene last week.The drama began with an elderly local woman walking along St Mel’s Road when a man came from behind her and pushed her to the ground.
He then snatched her handbag and attempted to make his escape. However Niall Headen from Abbeyleix, who was working on the temporary roof of St Mel’s Cathedral had a bird’s eye view of what was happening, and was determined not to let the man get away.
“I was working on the gable end of the roof away from the bell tower when I saw a man running up the footpath and knock the woman to the ground. I saw him snatch her handbag – I was on the ridge of the roof and could see where he was going. I shouted to a man on the street to stop him but he didn’t so I lowered myself down to the ground and ran after him. I caught him just outside of the priest’s house.”
At this stage three other men working on the site, including two local men, who wish to remain anonymous, tied up the mugger with a rope and immediately called the Gardai.
They held him down and then waited for members of the Longford Gardai to arrive before handing them back the lady’s handbag and its contents.
When asked if he was nervous attempting to apprehend the mugger Niall said he didn’t give a second thought to his own safety: “I wasn’t worried – when I saw the poor old lady on the footpath I had to try and stop him. We were all delighted she got her handbag back – it was our good deed for the week.”
A spokesperson from the Longford Gardai said that the workers’ actions were very helpful to the Gardai investigating the matter.
The woman who was attacked, was said to be very shocked by the incident, and received medical treatment for minor injuries afterwards.
The perpetrator was arrested and appeared at Longford District Court where he was charged with robbery and remanded in custody for one week. He is due to appear in court again this week.
A collection of American architectural drawings and of scanned architectural books and journals:
http://www.flickr.com/photos/revivaling/sets/72157624126712925/
Deptartment challenges Ballyroan church revamp
EXTENSIVE renovation plans for Ballyroan’s Catholic church have had to be changed following the intervention of a Government department which said some of the original proposals would cause “irreversible damage”.
In the past week Laois County Council gave the conditional goahead to refuburbish St Patrick’s Church, a building which is a protected building and dates back to the 1840.
Under plans submitted to the council, the refurbishment would have included a range of work to the inside and outside of the building.
The refurbishment planned ranged from the repointing of the belltower, a new altar, changes to the gallery, restoration of the stain glass windows and relocating the baptisimal font.
However, the Department of the Environment raised serious concerns over the project early last month when Minister John Gormley’s officials contacted county hall’s planners.
“The Department is concerned at several aspects of this proposed development which, in our opinion, do not represent best conservation practice and which would involve unnecessary loss and disturbance of historic fabric,” said a letter the Department.
Minister Gormley’s staff are also concerned that the potential impact of the refurbishment in that it inadequately described as the work may cause future damage to the building if incorrectly undertaken.
The Dept said the proposed cleaning and repointing of the stonework could cause “irreversible damage” if undertake incorrectly. Issues were also raised over the need for Damp Proof Coursing with the Dept saying that such works can be “very destructive”.
Concerns were also raised at plans for the stained glass.
The Dept said removal of such panels would contravene conservation principles and potentially damage the historic panels.
The replacement of storm glazing with new storm glazing was referred to as a “discredited practice.”
Problems were also highlighted with plans to lower the chancel floor and relocate mosaic flooring.
The Dept said this should not happen because the said such work would cause “significant and unacceptable damage”.
The Dept’s Development Application Unit Manager recommended that county hall should only grant permission if a number of conditions were met.
It said detailed conservation report on all work on the church should be prepared and approved by county hall before any work is carried out.
Laois County Council set a number of conditions on the project proceeding.
It said the precise details of the cleaning and repointing work must have the agreement of the council and meet best practice.
A similar condition was imposed in relation to damp coarsing.
The council allowed the existing storm glazing from the stained glazed windows but could to be removed but ordered that the proposed storm glazing would not be permitted.
Alternative proposals should be agreed with the council.
The council also ordered that a detailed statement and method statement be prepared by a qualified conservation architect which would have the written consent of the council.
Fr Gerard Ahern, PP, declined to comment until the planning process is finalised.
From the architectural survey:
Description
Detached four-bay Gothic Revival Roman Catholic church, dated 1840, retaining original aspect with tower on an octagonal plan and sacristy projection. Interior retains original aspect. Stained glass designed by Mayer & Co, Munich. Double-pitched slate roof with stone coping, limestone finials and profiled cast-iron rainwater goods on corbels. Roof to tower not visible behind castellated parapet. Nap rendered walls, painted, with raised quoins. Limestone ashlar tower with plait bands and crucifixes to corners. Lancet-arch window openings with limestone sills, limestone hood mouldings and timber-framed lattice windows. Lancet-arch door opening with timber panelled door with overlight. Full-height interior; stained glass windows (one – depicting “Agony In The Garden” – signed Mayer and Company; one, c.1950, depicting Saint Patrick; two depicting Saints Brigid and Patrick); marble and limestone wall monuments (dedicated to Reverend Nicholas Harding, died 1854); timber organ gallery to first floor on a half-octagonal plan over clustered columns having brackets; flat plaster ceiling with plaster ribs and rosettes; marble railing to chancel with brass gates; original carved marble altar; Decorated Gothic-style reredos; pointed-arch door openings to vestry projection. Church is set back from road in own grounds; landscaped grounds to site. Gateway to site comprising cast-iron piers with cast-iron double gates.ARCHITECT DUNCAN STROIK ASKS ‘IS THERE A SACRED ARCHITECTURE?’ AT HESBURGH LECTURE
Duncan G. Stroik, M. Arch. Duncan Stroik, University of Notre Dame professor and renowned practitioner of Catholic architecture, captivated an audience Thursday evening, March 4, at Sacred Heart University’s Schine Auditorium with a lecture that addressed the question, “Is There a Sacred Architecture?”
The event was part of Notre Dame’s annual Hesburgh Alumni Lecture, and was sponsored by the University of Notre Dame’s Alumni Association and in conjunction with Sacred Heart University’s University College. The Hesburgh Lecture is named for the legendary Father Theodore M. Hesburgh, who served for 35 years as the president of the University of Notre Dame.
It was also presented as part of the Human Journey Colloquia Series and is an element of the Year of the Chapel, a year-long series of events at Sacred Heart to celebrate the opening of its new Chapel of the Holy Spirit.
Dr. David Coppola talked about the symbolism of the mosaics in SHU’s new Chapel of the Holy Spirit The event was followed by a tour of the Chapel of the Holy Spirit by Vice President of Strategic Planning and Administration David Coppola, Ph.D. Dr. Coppola gave attendees an in-depth look at the chapel, explaining the symbolism of the original mosaics by renowned Jesuit artist Father Marko Ivan Rupnik. Since its creation, Sacred Heart’s chapel has garnered widespread attention and praise.
In 1998, Mr. Stroik founded the journal titled “Sacred Architecture,” which is
devoted exclusively to issues of church architecture. “Twelve years ago when we founded the journal and titled it ‘Sacred Architecture,’ liturgists and architects thought I was crazy and that the sacred was irrelevant today. Yet, now it is a buzzword for many in the field,” he said.Mr. Stroik received his architectural education from the University of Virginia and Yale University. Following graduation, he served as a project designer for the architect Allan Greenberg, with whom he designed a number of prestigious civic, institutional, collegiate and residential projects. In 1990, Mr. Stroik was invited to help form and implement a new curriculum in classical architecture at the University of Notre Dame. He is also the principal of Duncan G. Stroik Architect, LLC also located in South Bend, Ind.
During his lecture, Mr. Stroik reflected on the importance of chapels and church architecture in colleges, and showed photographs of some of his projects that include the design of the chapel of Our Lady of the Most Holy Trinity at St. Thomas Aquinas College in Santa Paula, Calif. Mr. Stroik said the central location of the chapel on the St. Thomas Aquinas campus “reflects the central role of faith in the pursuit of wisdom.”
Like St. Thomas Aquinas’ chapel location, Sacred Heart University’s chapel is prominently located in the heart of its campus, underscoring the University’s dedication to the pursuit and expression of faith and its foundation in the Catholic intellectual tradition.
“Many Catholics believe the adage that the study of liturgy should inform the design of churches, as well as the reverse, that the architecture of our churches informs the liturgy,” said Mr. Stroik. “The idea that the understanding of liturgy or theology is necessary to design a Catholic church has been foundational for church architecture since Vatican II and has even spawned a new type of expert, the Liturgical Design Consultant.”
Mr. Stroik said that according to the ancient architect Vitruvius, there are three major principles of architecture: Firmitas, Utilitas and Venustas. “These principles of Durability, Convenience and Beauty make clear the importance of durable construction, the ennoblement of function, and visual beauty to the definition of architecture,” he said. “These principles apply to all architecture including the architecture of the church.”
Mr. Stroik said that as an architect and a teacher, he is engaged daily with the exigencies of budgets, building codes, and worrying how to keep water out of a building.
“To conceive of the church first of all in theological terms before getting into the requirements for the liturgy, the limitations of the budget, space requirements, or the specific language or character of the building, allows us to see the big picture,” said Mr. Stroik. “These requirements are certainly important issues in the design of a church, but if we get sidetracked by them, we are often left with a compromised building.”
“However, I believe that the crucial issue in church architecture today is the development of the theological understanding of the ‘church as a sacred place,'” said Mr. Stroik.
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Exploring the source influences of the liturgical Drang to abolish “barriers”, “structures” and other “divisive forces” in liturgical space and practice:
No. 1: Berlin-Charlottenburg – Kommune I
Kommune 1 or K1 was the first politically-motivated commune in Germany. It was created on January 12, 1967, in West Berlin and finally dissolved in November 1969.
Kommune 1 developed from the extraparliamentary opposition of the German student movement of the 1960s. It was intended as a counter-model against the small middle-class family, as a reaction against a society that the commune thought was very conservative.
They were first located (from February 19, 1967, until the beginning of March, 1967) in the empty apartment of the author, Hans Magnus Enzensberger, in Fregestraße 19, as well as in the studio apartment of the author, Uwe Johnson, who was staying in the USA, at Niedstraße 14 in the Berlin district of Friedenau. After Enzensberger’s return from a long study trip to Moscow, they left his apartment and occupied the home of Johnson at Stierstraße 3 for a short time and then finally moved to the second floor of the back of a tenement house in Stephanstraße 60 in the Stephankiez area of the Berlin district of Moabit.[1]
Contents [hide]
1 Emergence
2 The First Phase: Bizarre acts of provocation
2.1 The “Pudding Assassination”
2.2 The visit of the Shah and the K1 photograph
2.3 The “Arsonist’s Lawsuit”
2.4 Reactions
3 The Second Phase: Sex, drugs and Uschi Obermaier
4 The end of Kommune 1 and its legacy
5 See also
6 References
7 Literature
8 External links[edit] Emergence
Members of the “Munich Subversive Action” (such as Dieter Kunzelmann) and of the Berlin Sozialistischer Deutscher Studentenbund (“SDS”) (such as Rudi Dutschke and Bernd Rabehl) discussed how to break from what they considered to be narrow-minded and bourgeois concepts.Dieter Kunzelmann had the idea of creating a commune. They decided to try a life of “those passionately interested in themselves”. Kunzelmann soon moved to Berlin. In Berlin, the SDS had its first “commune working group”, which advanced the following ideas:
Fascism develops from the nuclear family. It is the smallest cell of the state from whose oppressive character all institutions are derived.
Men and women live in dependence on each other so that neither could develop freely as people.
This cell (that is, the small family) had to be shattered.
When it was proposed that this theory should be realized as the practice of a life as a commune, many SDS members left, including Rudi Dutschke and Bernd Rabehl, who did not want to give up their marriages and lifestyles. In the end, nine men and women, as well as a child, moved into the empty apartment of Hans Magnus Enzensberger and the studio apartment of the author Uwe Johnson in Berlin-Friedenau, who was staying in New York City at the time, on February 19, 1967. After Enzensberger’s return from an extended study trip to Moscow, the communards left and occupied the main residence of Johnson in the nearby Stierstraße 3. They called themselves Kommune 1.The early communards included Dagrun Enzensberger (divorced wife of Hans Magnus Enzensberger), Tanaquil Enzensberger (nine years old at that time, daughter of Hans Magnus Enzensberger), Ulrich Enzensberger (Hans Magnus Enzensberger’s brother), Dieter Kunzelmann, Detlef Michel (until March 25, 1967), Volker Gebbert, Hans-Joachim Hameister, Dorothea Ridder, (“the iron Dorothee”), Dagmar Seehuber and Fritz Teufel. Rainer Langhans joined in March 1967.[2] At times, other people also lived in the premises of Kommune 1, such as Dagmar von Doetinchem and Gertrud Hemmer („Agathe“).
The communards first tried to tell each other their own biographical identity, to break the old certainties. They were very different from each other. Correspondingly, the roles each of them played were soon different. Kunzelmann was the “patriarch” and made sure everyone knew it. His definition of the goals of the commune were based on his time as a “situationist” and in the “Subversive Action”. He was therefore in favor of getting rid of all securities, even financial ones, which is why he scorned study grants, for example. He wanted to abolish any property, any private sphere. And he was against the principle of work, but for the principle of fun or pleasure. Everyone could and should do what he wanted, as long as it happened where everyone could see it.
Langhans, Teufel and the others wore long hair, beaded necklaces, army jackets or Mao suits at the urging of the women of the commune. Soon, they were paid for interviews and photographs. A sign hung plainly in the hallway of their apartment: “First pay up, then speak”.
[edit] The First Phase: Bizarre acts of provocation
During its entire existence, Kommune 1 was infamous for its bizarre staged events that fluctuated between satire and provocation. These events served as inspiration for the “Sponti” movement and other leftist groups.[edit] The “Pudding Assassination”
As the domestic commune life was too boring, the communards decided to turn their internal experience into actions.The first of these was the “pudding assassination” of US Vice-President Hubert Humphrey who was scheduled to visit Berlin. On the evening of April 2, 1967, the communards met in Johnson’s apartment with about 20 other people whom they knew from demonstrations. Kunzelmann presented his plan of throwing smoke bombs in the direction of the Vice President on the occasion of the state visit. None of the others besides Langhans wanted to participate.[3]
Police files indicate that the planned attack was revealed by a secret service agent, since eleven students were arrested by officials of Division I (Political Police) on April 5, 1967. They were supposed to have met under conspiratorial conditions and planned attacks against the life or health of Hubert Humphrey by means of bombs, plastic bags filled with unknown chemicals, or with other dangerous tools, such as stones.
Those arrested were Ulrich Enzensberger, Volker Gebbert, Klaus Gilgenmann, Hans-Joachim Hameister, Wulf Krause, Dieter Kunzelmann, Rainer Langhans and Fritz Teufel.[4] The tabloid Bild’s headline was “Humphrey to be assassinated”, the weekly Zeit spoke of “Eleven little Oswalds”. Even the New York Times featured a report on the dangerous plan of eight communards to attack the Vice-President with pudding, yoghurt, and flour. Because of this bad publicity, Uwe Johnson hastily asked his friend and neighbor Günter Grass to evict the students from his apartment. The next day, the communards were released and gave their first press conference – they had become celebrities, while the press and police officials had lost face in the public eye. The publisher Axel Springer henceforth called the members of Kommune 1 “communards of horror”.
The commune moved to an apartment in an old building on Kaiser-Friedrich-Straße on Stuttgarter Platz in the district of Berlin-Charlottenburg and later to Stephanstraße 60 in Berlin-Moabit. Hardly a week passed without the communards staging some kind of satiric provocation somewhere in Berlin, which made headlines in the press. In one of them, the commune climbed up the Kaiser-Wilhelm-Gedächtniskirche to throw down hundreds of Little Red books from above.
[edit] The visit of the Shah and the K1 photograph
During a demonstration in front of the Opera against the visit of the Shah of Iran on June 2, 1967 (the death of Benno Ohnesorg), Fritz Teufel was arrested and accused of treason. It was not until December that he was released, after he and many students with him had begun a hunger strike. In the streets, sympathizers held wild demonstrations, chanting “Freedom for Fritz Teufel” and “Drive the devil out of Moabit!” (Moabit being Berlin’s prison and Teufel being German for devil).During Teufel’s absence from Kommune 1, an infamous phototograph of the communards’ naked behinds against a wall was displayed with the headline: Das Private ist politisch! (“The personal is political”)
[edit] The “Arsonist’s Lawsuit”
On June 6, 1967, the “Arsonist’s Lawsuit” was filed against Langhans and Teufel because of flyers calling for arson against department stores, which read, “Holt euch das knisternde Vietnam-Gefühl, das wir auch hier nicht missen wollen!” (“Catch that burning Vietnam feeling that we would not want to miss at home!”) The court ultimately ruled in favor of Langhans and Teufel, however. They later told the story of the lawsuit in their book, Klau Mich (“Steal Me”), which rose to cult status.[edit] Reactions
The hedonistic attitude of the communards, who did only what they felt like doing, not only polarized the bourgeoisie but also polarized the political Left.The SDS especially disliked the provocative activities of the K1. The provocative flyers of the K1 (“Water cannons are paper tigers”) that were signed with the acronym SDS, were a source of continual irritation. Among other things, the communards were accused of having no political interest, but merely indulging in egotism. Hence in May 1967, the SDS expelled the “revolutionary rowdies” (Bild Zeitung).
In the weekly newspaper Zeit, Klaus Hartung wrote: “Scarcely any political theory was more successful than that according to which revolutionaries have to revolutionize, according to which there will be no change in the society without a change in everyday life.”
Kommune 1 developed into a kind of refuge for alternative thinkers for problems of all kinds; appeals for help arrived daily. The house was under a veritable siege by friends and groupies who worshipped Teufel and Langhans. Because of the crowd of women, especially caused by Teufel, he was expelled from the commune. He moved into a Munich commune and later belonged to the Movement 2 June.
[edit] The Second Phase: Sex, drugs and Uschi Obermaier
By the end of the 1960s, the societal climate had changed. In the late summer of 1968, the commune moved into a deserted factory on Stephanstraße in order to reorient. This second phase of Kommune 1 was characterized by sex, music, and drugs.On September 21, 1968, the commune went to the International Song Days in Essen, the Federal Republic’s first underground festival.[5] There, Langhans met and fell in love with Uschi Obermaier, a model from Munich. She lived with the Munich-based music commune Amon Düül, but soon she moved in with the communards of Kommune 1, who shared one bedroom. Soon, the press called Langhans and Obermaier the “best-looking couple of the APO”.
The politization of the private sphere and the fact that Langhans and Obermaier spoke openly to the media about their relationship, about jealousy and about “pleasure machines” constituted the next breaking of social taboos, ushering in the sexual revolution.[dubious – discuss] Later, John Lennon and Yoko Ono and others followed their example.[citation needed]
All of a sudden, the commune was receiving visitors from all over the world, among them Jimi Hendrix, who turned up one morning in the bedroom of Kommune 1. Obermaier fell in love with him.[citation needed]
Her modeling fees rose sharply, she was given a lead role in Rudolf Thome’s cult movie Rote Sonne (1969). (Rote Sonne at IMDB). (Red Sun), and her photographs were all over posters and magazine covers. Rumor has it[weasel words][citation needed] that the magazine Stern paid her 20,000 Deutschmark (the price of a Porsche 911 at the time) for an interview and nude photos of Obermaier.
[edit] The end of Kommune 1 and its legacy
Eventually, the energy of Kommune 1 was spent. Kunzelmann’s addiction to heroin worsened and the second communard was expelled from the commune. (It is said[who?] that the other members of the commune left of their own will). Now and then, the Munich women’s communes appeared.In November 1969, a gang of Rockers raided those who remained and devastated the rooms. The remaining occupants lost their belief in the future of Kommune 1 and they dispersed. Obermaier and Langhans went to Munich.
A table from one of the rooms of the Kommune 1 was bought by the Green Party politician Hans-Christian Ströbele. During meetings around that same table, the newspaper die tageszeitung and the German Chaos Computer Club were founded. The table was stolen in 1990, and there is some speculation[by whom?] as to its whereabouts today.
[edit] See also
Amon Düül
Uschi Obermaier
Chaos Computer Club
Manfred Grashof
Autonomism
[edit] References
^ Ulrich Enzensberger, Die Jahre der Kommune I, pp. 105, 108
^ Ulrich Enzensberger, Die Jahre der Kommune I, p. 105
^ The danger of it being turned into a bloodbath by the US security forces was too great.
^ Ulrich Enzensberger, Die Jahre der Kommune I, p. 121
^ Wagner, Christoph (2003). “Deutschlands Woodstock” (in German). http://www.folker.de/200306/02songtage.htm. Retrieved 2007-12-29.
[edit] Literature
Enzensberger, Ulrich. 2004. Die Jahre der Kommune I. Berlin 1967-1969. Köln: Kiepenheuer & Witsch. ISBN 3-462-03413-8
Fahlenbrach, Kathrin. 2004. The Aesthetics of Protest in the Media of 1968 in Germany (conference paper). Proceedings, IX International Congress of the International Society for the Empirical Study of Literature, 2004. Available from: http://www.arts.ualberta.ca/igel/igel2004/Proceedings/Fahlenbrach.pdf (PDF)
Rabehl, Bernd. 2003. Die Provokationselite: Aufbruch und Scheitern der subversiven Rebellion in den sechziger Jahren. (Teil 2: Die Revolte in der Revolte: Die Kommune 1.) Available from: http://people.freenet.de/visionen/Provo2.htm
Martin Klimke, Joachim Scharloth (eds.).2007. 1968. Ein Handbuch zur Kultur- und Mediengeschichte der Studentenbewegung. Stuttgart: Metzler. ISBN 3-476-02066-5
Wolfgang Dreßen, Dieter Kunzelmann, Eckhard Siepmann (publ.): Das Nilpferd des höllischen Urwalds. Situationisten – Gruppe Spur – Kommune I. Anabas-Verlag, Gießen 1991.
Rainer Langhans, Fritz Teufel: Klau mich. StPO der Kommune I. Edition Voltaire, Frankfurt am Main and Berlin 1968 (Series: Voltaire Handbuch 2), Reprint (without pornographic insert): Trikont Verlag, Munich 1977; Rixdorfer Verlagsanstalt, Berlin undated [1982]
Christa Ritter, Rainer Langhans: Herz der Revolte. Die Kommune 1 von 1967 bis 1969. Hannibal Verlag, 2005, ISBN 3-85445-258-6.
Peter Szondi: Aufforderung zur Brandstiftung. Ein Gutachten im Prozeß Langhans / Teufel. in: Der Monat, Berlin, 19th year, issue 7, 1967, p. 24-29, also printed in: Peter Szondi: Ãœber eine “Freie (d. h. freie) Universität”. Stellungnahmen eines Philologen. Suhrkamp Verlag, Frankfurt am Main 1973 (Series: es 620)
[edit] External links
Kommune 1 in Berlin (in German)This article incorporates information from this version of the equivalent article on the German Wikipedia.
Retrieved from “http://en.wikipedia.org/wiki/Kommune_1”The German version of the previous posting as fpund on Wikipedia:
Kommune I
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Die Kommune I (K1) war eine politisch motivierte Wohngemeinschaft in der Bundesrepublik Deutschland. Sie wurde am 1. Januar 1967 in Berlin gegründet und löste sich im November 1969 endgültig auf.Die Kommune I entstand aus der außerparlamentarischen Opposition der Studentenbewegung. Sie war gedacht als Gegenmodell zur bürgerlichen Kleinfamilie, als Reaktion auf eine Gesellschaft, die von der Kommune als sehr konservativ eingeschätzt wurde.
Sie befand sich zuerst seit dem 19. Februar 1967 in der leerstehenden Wohnung des Schriftstellers Hans Magnus Enzensberger in der Fregestraße 19 (bis Anfang März 1967) sowie in der Atelierwohnung des sich in New York aufhaltenden Schriftstellers Uwe Johnson in der Niedstraße 14 im Berliner Ortsteil Friedenau. Nach der Rückkehr Enzensbergers von einer längeren Studienreise nach Moskau wurde dessen Wohnung verlassen, stattdessen besetzten die Kommunarden kurzzeitig die Hauptwohnung von Johnson in der Stierstraße 3, wohnten einige Monate im Eckhaus Stuttgarter Platz/Kaiser-Friedrich-Straße in Charlottenburg und zogen dann in die endgültige Wohnung im zweiten Stock des Hinterhauses der Stephanstraße 60 im Berliner Stephankiez.[1]
Inhaltsverzeichnis [Verbergen]
1 Entstehung
2 Die erste Phase: Groteske Provokation
2.1 Das „Pudding-Attentat“
2.2 Der Schah-Besuch und das K1-Foto
2.3 Der „Brandstifter-Prozess“
2.4 Reaktionen
3 Die zweite Phase: Sex, Drogen und Uschi Obermaier
4 Das Ende der Kommune I
5 Siehe auch
6 Literatur
7 EinzelnachweiseEntstehung [Bearbeiten]
Mitglieder der Münchner Subversiven Aktion (wie Dieter Kunzelmann) und des Berliner SDS (wie Rudi Dutschke und Bernd Rabehl) überlegten, wie man sich von – als spießig und kleinbürgerlich empfundenen – Vorstellungen lösen könne.Dieter Kunzelmann hatte die Idee, eine Kommune zu gründen. Man beschloss, ein Leben der „leidenschaftlich an sich selbst Interessierten“ zu versuchen. Kunzelmann zog bald nach Berlin. Dort gab es im SDS einen ersten Kommune-Arbeitskreis, der folgende Ideen verfolgte:
Aus der Kleinfamilie entstehe der Faschismus. Sie sei die kleinste Zelle des Staates, aus deren unterdrückerischem Charakter sich alle Institutionen ableiten.
Mann und Frau lebten in Abhängigkeit voneinander, sodass keiner von beiden sich frei zum Menschen entwickeln könne.
Diese Zelle (also die Kleinfamilie) müsse zerschlagen werden.
Als dann diese Theorie in die Praxis eines Lebens als „Kommune“ umgesetzt werden sollte, sprangen viele SDSler ab, unter anderem Rudi Dutschke und Bernd Rabehl, die ihre Frauen und ihre alten Verhältnisse nicht aufgeben wollten. Am Ende zogen am 19. Februar 1967 neun Männer und Frauen sowie ein Kind in die damals leerstehende Wohnung von Hans Magnus Enzensberger und die Atelierwohnung des Schriftstellers Uwe Johnson in Friedenau ein (siehe oben). Sie nannten sich „Kommune I“.Kommunarden der ersten Stunde waren Dagrun Enzensberger (geschiedene Frau von Hans Magnus Enzensberger) und ihre damals neunjährige Tochter Tanaquil, Ulrich Enzensberger (Bruder von Hans Magnus Enzensberger), Volker Gebbert, Hans-Joachim Hameister, Dieter Kunzelmann, Detlef Michel (bis 25. März 1967), Dorothea Ridder („die eiserne Dorothee“), Dagmar Seehuber und Fritz Teufel. Rainer Langhans kam erst im März 1967 dazu.[2] Zeitweilig wohnten auch noch weitere Personen in den Räumlichkeiten der Kommune I, so z. B. Dagmar von Doetinchem und Gertrud Hemmer („Agathe“).
Die Kommunarden versuchten zunächst, sich gegenseitig die eigene biografische Identität zu erzählen, um dann genau solche alten Sicherheiten zu brechen. Die Kommunarden waren sehr unterschiedlich. Entsprechend unterschiedlich waren bald die Rollen, die jeder spielte. Kunzelmann war der „Patriarch“ und ließ dies andere auch spüren. Seine Definition der Ziele der Kommune basierte auf seiner Zeit als „Situationist“ und in der „Subversiven Aktion“. Er war daher für die Abschaffung aller Sicherheiten, auch der finanziellen, weswegen er zum Beispiel Stipendien verachtete. Er wollte jeden Besitz, jede private Sphäre abschaffen. Und er war gegen das Leistungs-, aber für das Spaß- oder Lustprinzip. Jeder sollte und konnte tun, was sie/er wollte, solange es unter aller Augen geschah.
Langhans, Teufel und die anderen trugen auf Betreiben der Kommunefrauen hin lange Haare, Perlenketten, Armeemäntel oder Mao-Anzüge. Bald ließen sie sich ihre Interviews und Fotos bezahlen. Im Flur ihrer Wohnung hing deutlich ein Schild: „Erst blechen, dann sprechen“.
Die erste Phase: Groteske Provokation [Bearbeiten]
Die Kommune I war während ihres ganzen Bestehens für ihre grotesken Aktionen bekannt, die stets zwischen Realsatire und Provokation schwankten. Diese Aktionen wurden für die Sponti-Bewegung und andere linke Szenen zum Vorbild.Das „Pudding-Attentat“ [Bearbeiten]
Weil ihnen das häusliche Kommune-Leben zu einseitig war, ließen die Kommunarden aus der internen Erfahrung Aktionen werden.Die erste Aktion sollte der später „Pudding-Attentat“ genannte Anschlag auf den US-Vizepräsidenten Hubert H. Humphrey werden, der Berlin besuchte. Am Abend des 2. April 1967 trafen sich in der Wohnung von Johnson die Kommunarden mit rund zwanzig anderen, die sie von Demonstrationen kannten. Kunzelmann stellte seinen Plan vor, anlässlich des Staatsbesuches Rauchbomben in Richtung des Vizepräsidenten zu werfen. Von den Externen wollte sich außer Langhans niemand beteiligen: Die Gefahr, dass es zu einem Blutbad durch US-Sicherheitskräfte komme, schien zu groß.
Polizeiakten deuten darauf hin, dass der geplante Anschlag durch einen V-Mann des Verfassungsschutzes offenbart wurde, denn am 5. April 1967 wurden durch Beamte der Abteilung I (Politische Polizei) elf Studenten festgenommen. Sie seien unter verschwörerischen Umständen zusammengekommen und hätten hierbei Anschläge gegen das Leben oder die Gesundheit des amerikanischen Vizepräsidenten Hubert Humphrey mittels Bomben, mit unbekannten Chemikalien gefüllten Plastikbeuteln oder mit anderen gefährlichen Tatwerkzeugen wie Steinen usw. geplant.
Bei den Festgenommenen handelte es sich u. a. um Ulrich Enzensberger, Volker Gebbert, Klaus Gilgenmann, Hans-Joachim Hameister, Wulf Krause, Dieter Kunzelmann, Rainer Langhans und Fritz Teufel.[3] Die BILD-Zeitung titelte: „Attentat auf Humphrey“ und Die Zeit: „Elf kleine Oswalds“. Sogar die New York Times berichtete über den – als gefährlich dargestellten – Plan von acht Kommunarden, ihren Vize mit Pudding, Joghurt und Mehl zu attackieren, sodass Uwe Johnson seinen Freund und Nachbarn Günter Grass beauftragte, diese Studenten aus seiner Wohnung zu entfernen. Die Kommunarden wurden schon am nächsten Tag aus der U-Haft freigelassen und gaben ihre erste Pressekonferenz. Die Zeitungen des Axel Springer Verlags nannten sie von nun an „Horror-Kommunarden“.
Die Kommune zog in eine Altbauwohnung an der Kaiser-Friedrich-Straße am Stuttgarter Platz in Charlottenburg und später nach Moabit in die Stephanstraße 60. Es gab kaum eine Woche, in der die Kommune I nicht irgendwo in Berlin eine satirische Provokation aufführte, die Schlagzeilen in der Presse machte. So stieg die Kommune auf die Kaiser-Wilhelm-Gedächtniskirche, um von oben hunderte Mao-Bibeln zu werfen.
Der Schah-Besuch und das K1-Foto [Bearbeiten]
Fritz Teufel wurde während der Demonstration vor der Oper gegen den Staatsbesuch von Schah Mohammad Reza Pahlavi am 2. Juni 1967 (Todestag von Benno Ohnesorg) verhaftet und des Landfriedensbruchs angeklagt. Er kam erst im Dezember 1967 wieder frei, nachdem er und viele Studenten mit ihm in den Hungerstreik getreten waren. Aber die Straße feierte längst die übermütigsten Partys: „Freiheit für Fritz Teufel!“ oder „Treibt Moabit den Teufel aus!“.Während Teufels Abwesenheit entstand das berühmte K1-Foto von Thomas Hesterberg: die nackten Rückenansichten vor der Wand. Motto: „Das Private ist politisch!“. Auf einem Poster von Peter Deiters mit diesem Foto steht:
„Die wahren Helden sind die Massen. Wir selbst sind oft naiv bis zur Lächerlichkeit. Wer das nicht begriffen hat, wird nicht einmal die minimalen Kenntnisse erwerben können.“
– Mao
Der Spiegel veröffentlichte das Foto retuschiert (ohne männliche Geschlechtsteile).
Der „Brandstifter-Prozess“ [Bearbeiten]
Am 6. Juni 1967 begann für Langhans und Teufel der „Brandstifter-Prozess“ – wegen eines Flugblattes der K1, in dem sie die Bevölkerung zur Brandstiftung in Kaufhäusern aufriefen: „Holt euch das knisternde Vietnam-Gefühl, das wir auch hier nicht missen wollen.“ Sie wurden freigesprochen. Ihren Prozess schrieben sie in dem späteren Kultbuch Klau mich nach.Reaktionen [Bearbeiten]
Die hedonistische Lebenseinstellung der K1-Bewohner, die nur das machten, was sie selbst gut fanden, polarisierte nicht nur das Bürgertum, sondern auch die politische Linke.Der SDS stieß sich bald an dem provokanten Treiben der K1. Die mit SDS unterzeichneten provokanten Flugblätter der K1 („Wasserwerfer sind Papiertiger“) waren ihr ein Dorn im Auge. Den Kommunarden wurde unter anderem auch vorgeworfen, kein politisches Interesse zu haben, sondern lediglich dem Egoismus zu frönen. Im Mai 1967 schloss der SDS die „revolutionären Krawallmacher“ (B.Z.) daher aus.
Klaus Hartung schrieb in der ZEIT: „Kaum eine politische Theorie war erfolgreicher als jene, wonach die Revolutionäre sich revolutionieren müssen, wonach ohne Veränderung des Alltagslebens es keine Veränderung der Gesellschaft geben wird.“
Die Kommune entwickelte sich für Andersdenkende zu einer Art Anlaufstelle für Probleme aller Art. Täglich trafen Hilfegesuche ein. Das Haus wurde von Freunden und Groupies regelrecht belagert, die vor allem Langhans und Teufel verehrten. Aufgrund des weiblichen Andrangs, den besonders Teufel verursachte, wurde er aus der K1 verwiesen. Er zog in eine Münchner Kommune und gehörte später zur „Bewegung 2. Juni“.
Die zweite Phase: Sex, Drogen und Uschi Obermaier [Bearbeiten]
Ende der 1960er-Jahre veränderte sich das gesellschaftliche Klima. Die Kommune I zog im Spätsommer 1968 in eine verlassene Fabrik in die Stephanstraße 60, um sich neu zu orientieren. In der zweiten Kommune-Phase standen Sex, Musik und Drogen im Vordergrund.Am 21. September 1968 fuhr die Kommune zu den Essener Songtagen, dem ersten Underground-Festival der BRD. Dort verliebte sich Langhans in Uschi Obermaier, ein Fotomodell aus München. Sie lebte dort mit der Musikkommune Amon Düül, zog jedoch bald in der Fabrik ein, wo Kommunarden gemeinsam in einem Schlafsaal wohnten. Obermaier und Langhans galten in der Presse bald als „das schönste Paar der APO“ und gaben nach dem Motto „Politisierung des Privaten“ bereitwillig über ihre Beziehung Auskunft.
Die Besucher kamen auf einmal aus aller Welt; unter ihnen auch der legendäre Gitarrist Jimi Hendrix. Obermaier verliebte sich in ihn.
Obermaiers Gagen als Fotomodell stiegen, sie spielte eine Hauptrolle in dem Kultfilm Rote Sonne von Rudolf Thome und posierte auf Covern und Postern. Laut Gerüchten soll die Illustrierte Stern ihr für eine Reportage und die Nacktfotos von ihr die Summe von 20.000 Mark gezahlt haben.
Das Ende der Kommune I [Bearbeiten]
Irgendwann hatte sich die Energie der K1 verbraucht. Kunzelmann geriet immer mehr in die Abhängigkeit von Heroin. Der zweite Kommunarde wurde vor die Tür gesetzt (alle anderen, so heißt es, gingen von allein). Ab und zu tauchte die Münchner Frauen-Kommune auf.Im November 1969 überfielen Rocker die Verbliebenen und verwüsteten die Räume. Das ließ die restlichen Bewohner den Glauben an die Zukunft der Kommune I verlieren und sie auflösen.
Siehe auch [Bearbeiten]
Kommune 2
Literatur [Bearbeiten]
Wolfgang Dreßen, Dieter Kunzelmann, Eckhard Siepmann (Hrsg.): Das Nilpferd des höllischen Urwalds. Situationisten – Gruppe Spur – Kommune I. Anabas-Verlag, Gießen 1991.
Ulrich Enzensberger: Die Jahre der Kommune I. Berlin 1967–1969. Kiepenheuer & Witsch, Köln 2004, ISBN 3462034138.
Martin Klimke, Joachim Scharloth (Hrsg.): 1968. Ein Handbuch zur Kultur- und Mediengeschichte der Studentenbewegung. Metzler, Stuttgart 2007, ISBN 3476020665.
Rainer Langhans, Fritz Teufel: Klau mich. StPO der Kommune I. Edition Voltaire, Frankfurt am Main und Berlin 1968 (Reihe: Voltaire Handbuch 2), Nachdrucke (ohne die pornografische Beilage): Trikont Verlag, München 1977; Rixdorfer Verlagsanstalt, Berlin o. J.
Christa Ritter, Rainer Langhans: Herz der Revolte. Die Kommune 1 von 1967 bis 1969. Hannibal Verlag, 2005, ISBN 3854452586.
Peter Szondi: Aufforderung zur Brandstiftung. Ein Gutachten im Prozeß Langhans/Teufel. in: Der Monat, Berlin, 19. Jg., H. 7, 1967, S. 24–29, ebenfalls abgedruckt in: Peter Szondi: Über eine „Freie (d. h. freie) Universität“. Stellungnahmen eines Philologen. Suhrkamp Verlag, Frankfurt am Main 1973 (Reihe: es 620)
Rainer Langhans: Ich bin’s, Autobiografie, Blumenbar-Verlag München/Berlin 2008
Rainer Langhans / Christa Ritter (Hrg.): KI − Bilderbuch der Revolte, Blumenbar-Verlag München/Berlin 2008
Einzelnachweise [Bearbeiten]
↑ Ulrich Enzensberger: Die Jahre der Kommune I. S. 105, 108.
↑ Ulrich Enzensberger: Die Jahre der Kommune I. S. 105.A recent notice from the Ecclesiological Society:
The Ecclesiological Society
About our conferences . . . and this year’s . . .Conference in 2010: Saturday 2nd October, 10.15 – 5.15 in central London (address below)
Our conference in 2010 is on Medieval English Wall Paintings. All are welcome.
You can book using the application form here, posting it to us, or by emailing conference@ecclsoc.orgSPEAKERS
Roger Rosewell: Introduction to medieval English wall paintings
Miriam Gill: Seven Deadly Sins and Seven Works of Mercy: wall paintings and the catechism
Anne Marshall: The Gossip
Jo Mattingly: Wall paintings: the view from Cornwall (preliminary title)
Bob Heath-Whyte: The chancel wall paintings at St. Mary’s Church, Chalgrove, Oxon
Ellie Pridgeon: St Christopher in medieval wall painting: image and functionThe entry price includes all refreshments, a good hot lunch, and a glass of wine at the end. Tickets for members of the Society are £42.50; for non-members £48;
for undergraduate and post-graduate students, £35.The conference will be at the St Alban’s Centre, Baldwins Gardens, London EC1N 7AB
George Coppinger Ashling:
Link to Irish Architectural Archive data base of architects:
From the data base of the Irish Arcitectural Archive:
Works executed by the firm Ashlin and Coleman from 1903 to c. 1950:
St. Colman’s Cathedral, Cobh, Co. Cork
From the data base of the irish Architectural Archive
This index, while not complete, is an invaluable miscellany of those who worked on the building and decorating of Cobh Cathedral. It is most interesting, for example, to note the work of Patrick Scannell who supplied the altar rails in 1891/1892 BEFORE the internal walls were clad in Portland/Bath stone – had Prof. O’Neill been apprise of this chronological fact he might not have made such silly remarks about the altar rails awakardly jooining the transept wall at the Midleton Oral Hearing. If there is an awakardness here, it is the manner in which the Portland stone dressing meets the antecedent altar rail.
However….
Here is the link:
St. Colman’s Cathedral, Cobh, Co. Cork
The index of works on the data base relative to Patrick Scannell:
http://www.dia.ie/architects/view/4760#tab_works
Going through this list it is appalling to see the destruction wroughthon this sculptor’s work by the Liturgical Kommune Eins.
St. Colman’s Cathedral, Cobh, Co. Cork
Index of material held in the Irish Architectural Archive pertinent to Patrick Beakey who supplied the throne and choir stalls for the chancel of the Cathedral. These were designed by Pugin and Ashlin and given to the Cathedral by Lord Rushbrooke. Unfortunately, Beakey’s corresponding set for Armagh Cathedral is but a faint memory after the insurrection of the 68-ers.
St. Colman’s Cathedral, Cobh, Co. Cork
Index of material in Irish Architectural Archive re works by the firm of Earley and Powell, Upper Camden Street, Dublin:
http://www.dia.ie/architects/view/1736#tab_works
This company executed G. C. Ashlin’s design for the High Altar in Cobh Cathedral. Many of Ashlin’s drawings are extant and also in the Irish Architectural Archive having been deposited there by the firm of Ashlin and Colman.
St. Colman’s Catedral, Cobh, Co. Cork
Index of works in the Irish Architectural Archive pertaining to the mosaic work of Ludwig Oppenheimer:
http://www.dia.ie/architects/view/4230#tab_works
Some of the drawings prepared by G. C. Ashling for the floors of the chancel in Cobh Cathedral are on deposit in the Irish Architectural Archive.
St. Colman’s Catedral, Cobh, Co. Cork
Index of works in the Irish Architectural Archive pertaining to the mosaic work of Mayer of Munich:
http://www.dia.ie/architects/view/3426#tab_worksThe company had offices in Munich, London and New york. Unfortunately, almost all of the records of the Munich office were destroyed when a bomb hit them in 1942; the archive of the London office is missing since the closure of the London office in 1915 due to the outbreak of the First World War; and the whereabouts of the archive of the New York office is also unknown since it too close in 1915.
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