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Wanda
Erkekler sevdiklerini kendilerinin seçtiklerini sanırlar. Aslında seçen de seçilen de kadındır. Haake de sevdiği kadını seçti; Wanda'yı... Ama ömrünün sonuna kadar seçilmediğini anlayamadı... Wanda, neden istemiyordu Haake'yi? Acaba onu beğenmiyor muydu? Yoksa bir başkası mı vardı arada? Belki de umulmadık, beklenmedik bir şey...
Perfect Paperback
First published May 1, 1928
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About the author
Gerhart Hauptmann
952 books77 followersGerhart Johann Robert Hauptmann was a German dramatist and novelist. He is counted among the most important promoters of literary naturalism, though he integrated other styles into his work as well. He received the Nobel Prize in Literature in 1912.
Life Hauptmann's first drama, Before Dawn (1889) inaugurated the naturalistic movement in modern German literature. It was followed by The Reconciliation (1890), Lonely People (1891) and The Weavers (1892), a powerful drama depicting the rising of the Silesian weavers in 1844 for which he is best known outside of Germany.
Hauptmann's subsequent work includes the comedies Colleague Crampton (1892), The Beaver Coat (1893), and The Conflagration (1901), the symbolist dream play The Assumption of Hannele (1893), and an historical drama Florian Geyer (1895). He also wrote two tragedies of Silesian peasant life, Drayman Henschel (1898) and Rose Bernd (1903), and the dramatic fairy-tales The Sunken Bell (1896) and And Pippa Dances (1906).
Hauptmann's marital life was difficult and in 1904 he divorced his wife. That same year he married the actress Margarete Marschalk, who had borne him a son four years earlier. The following year he had an affair with the 17-year-old Austrian actress Ida Orloff, whom he met in Berlin when she performed in his play The Assumption of Hannele. Orloff inspired characters in several of Hauptmann's works and he later referred to her as his muse.
In 1911 he wrote The Rats. In 1912, Hauptmann was awarded the Nobel Prize in Literature, "primarily in recognition of his fruitful, varied and outstanding production in the realm of dramatic art."
During the First World War Hauptmann was a pacifist. In this period of his career he wrote several gloomy historical-allegorical plays, such as The Bow of Odysseus (1914), The White Saviour (1912–17), and Winter Ballade (1917). After the war, his dramatic abilities appeared to diminish. He wrote two full-length plays that are similar to the early successes: Dorothea Angermann (1926) and Before Sunset (1932). He remained in Germany after Hitler's Machtergreifung and survived the bombing of Dresden. His last work was the Atriden-Tetralogie (1942–46). His works in German were published by S. Fischer Verlag.
Hauptmann died at the age of 83 at his home in Agnetendorf (now Jagniątków, Poland) in 1946. Since the Polish communist administration did not allow Hauptmann's relatives to bury him in Agnetendorf (although even the Soviet military government had recommended this), his body was transported in an old cattle wagon to occupied Germany more than a month after his death. He was buried near his cottage on Hiddensee.
Under Wilhelm II Hauptmann enjoyed the reputation of a radical writer, on the side of the poor and outcasts. During the Weimar Republic (1918–33) he enjoyed the status of the literary figurehead of the new order, and was even considered for the post of state president. Under Hitler he kept his distance from the regime, but never publicly criticized it. This, and the fact that (unlike so many writers and academics) he stayed in Germany, was strongly held against him after the war. A superb collected edition of his works appeared in the 1960s, and stimulated some impressive studies of his work (e.g. those by Peter Sprengel), but the tide of critical and public opinion remained negative. A few of his plays are still revived from time to time, but otherwise he is neglected. He was certainly an uneven writer, but at his best (as in 'The Weavers', his novel 'The Fool in Christ Emmanuel Quint', and the Novellen 'The Heretic of Soana' and 'Das Meerwunder') he can arguably rank with the best of his German contemporaries.
Source : http://en.wikipedia.org/wiki/Gerhart_...
Life Hauptmann's first drama, Before Dawn (1889) inaugurated the naturalistic movement in modern German literature. It was followed by The Reconciliation (1890), Lonely People (1891) and The Weavers (1892), a powerful drama depicting the rising of the Silesian weavers in 1844 for which he is best known outside of Germany.
Hauptmann's subsequent work includes the comedies Colleague Crampton (1892), The Beaver Coat (1893), and The Conflagration (1901), the symbolist dream play The Assumption of Hannele (1893), and an historical drama Florian Geyer (1895). He also wrote two tragedies of Silesian peasant life, Drayman Henschel (1898) and Rose Bernd (1903), and the dramatic fairy-tales The Sunken Bell (1896) and And Pippa Dances (1906).
Hauptmann's marital life was difficult and in 1904 he divorced his wife. That same year he married the actress Margarete Marschalk, who had borne him a son four years earlier. The following year he had an affair with the 17-year-old Austrian actress Ida Orloff, whom he met in Berlin when she performed in his play The Assumption of Hannele. Orloff inspired characters in several of Hauptmann's works and he later referred to her as his muse.
In 1911 he wrote The Rats. In 1912, Hauptmann was awarded the Nobel Prize in Literature, "primarily in recognition of his fruitful, varied and outstanding production in the realm of dramatic art."
During the First World War Hauptmann was a pacifist. In this period of his career he wrote several gloomy historical-allegorical plays, such as The Bow of Odysseus (1914), The White Saviour (1912–17), and Winter Ballade (1917). After the war, his dramatic abilities appeared to diminish. He wrote two full-length plays that are similar to the early successes: Dorothea Angermann (1926) and Before Sunset (1932). He remained in Germany after Hitler's Machtergreifung and survived the bombing of Dresden. His last work was the Atriden-Tetralogie (1942–46). His works in German were published by S. Fischer Verlag.
Hauptmann died at the age of 83 at his home in Agnetendorf (now Jagniątków, Poland) in 1946. Since the Polish communist administration did not allow Hauptmann's relatives to bury him in Agnetendorf (although even the Soviet military government had recommended this), his body was transported in an old cattle wagon to occupied Germany more than a month after his death. He was buried near his cottage on Hiddensee.
Under Wilhelm II Hauptmann enjoyed the reputation of a radical writer, on the side of the poor and outcasts. During the Weimar Republic (1918–33) he enjoyed the status of the literary figurehead of the new order, and was even considered for the post of state president. Under Hitler he kept his distance from the regime, but never publicly criticized it. This, and the fact that (unlike so many writers and academics) he stayed in Germany, was strongly held against him after the war. A superb collected edition of his works appeared in the 1960s, and stimulated some impressive studies of his work (e.g. those by Peter Sprengel), but the tide of critical and public opinion remained negative. A few of his plays are still revived from time to time, but otherwise he is neglected. He was certainly an uneven writer, but at his best (as in 'The Weavers', his novel 'The Fool in Christ Emmanuel Quint', and the Novellen 'The Heretic of Soana' and 'Das Meerwunder') he can arguably rank with the best of his German contemporaries.
Source : http://en.wikipedia.org/wiki/Gerhart_...
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Displaying 1 - 7 of 7 reviews
May 13, 2023
Gerhart Hauptmann edebiyatı kötü bir edebiyat da değil esasen ama ben bu kitabın başarılı bir kitap olmadığını nasıl anlatırım bilemiyorum. Anlatım, dil aslına bakarsanız iyi, hatta çok iyi ama bu nasıl içi boş bir hikayedir böyle. Hauptmann’ın aşk hikayesi diye anlattığı şey, tamamen bir grup ahmak insanın saçmalıkları. Boş yahu, neresinden baksam boş bir hikaye. Kitap için hoş şeyler yazamayacağım G. Hauptmann, üzgünüm. Zaten daha önce de aynı duygularla Hat Bekçisi Thiel’i okumuş ve yine hikayeyi yeterli bulmamıştım. Bu ısrarcı tavrımı da anlamış değilim ama neyse. Anlatımı başarılı olunca ilk kitapta harcamak istemedim sanırım yazarı. Bu kadarı kâfi sevgili Gerthart Hauptmann vedalaşalım. Olamadı.
Son bir not, kitap çok ama çok akıcı ve hızlı okunan türden.
Son bir not, kitap çok ama çok akıcı ve hızlı okunan türden.
July 30, 2021
Güzel keşiflerden biri oldu Sevgili Wanda. Özellikle kapak dikkatimi çekmişti. Ama kapağa göre hareket etmedim elbette. Yeni bir yazar tanımak istiyordum ve Gerhart Hauptmann ile tanıştım.
Kitap çok akıcı ve sürükleyici. Bir şeylerin olacağını biliyorsunuz ve bu yüzden elinizden bırakamaz vaziyette okuyorsunuz. Karakterlerin derinliği belki biraz daha iyi verilebilirdi ama genel anlamda akıcı ve güzel bir okuma oldu.
Kitap çok akıcı ve sürükleyici. Bir şeylerin olacağını biliyorsunuz ve bu yüzden elinizden bırakamaz vaziyette okuyorsunuz. Karakterlerin derinliği belki biraz daha iyi verilebilirdi ama genel anlamda akıcı ve güzel bir okuma oldu.
August 22, 2021
Bi ay süren bi okuma… bütün karakterlerden etimle kemiğimle nefret ettim… En çok da Paul’dan… Adam psikopat bir stalker, aşk hakkında hiçbir şey bilmeyen bir bağımlı.
July 21, 2021
Evet soluksuz bir kitaptı ama karakterlerin hepsine tek tek lanet ettiğim anlar da olmadı değil...
Ne okudum yahu ben?
Ne okudum yahu ben?
September 16, 2025
📚 Sevgili Wanda – Kitap Yorumu
Bu kitapta sürekli bir kontrol ve çatışma havası var. Hooke’un tutkusu, Wanda’nın özgürlük isteğiyle çarpışıyor; ilişkilerde çıkar dengesi hep önde.
Karakterler aslında yüceltilmiyor, daha çok insanların tutkularının nasıl ön planda olduğu anlatılıyor. Naturalizmde genelde alt tabaka işlenir ama bu kitap “arada kalmış” bir sınıfı gösteriyor.
Karakterler psikolojik olarak da ilginç: çoğu bipolar gibi davranırken, Wanda’nın kişiliği “sınırda kişilik” olarak tanımlanabilecek türden.
En çok dikkatimi çeken şey ise şu oldu: bağımlı kişilikler hep birine tutunarak yaşıyor. Kitap boyunca bunu çok net görüyorsunuz.
Bu kitabı sevgili #1nobel1klasik grubumuz ile okuduk. Akşamki sohbetten öyle güzel bilgiler ile ayrıldık ki..her bir arkadaşıma teşekkürler 🤗 ❤️
Kısacası Sevgili Wanda, sadece bir aşk hikâyesi değil; insan ruhunu, bağımlılıkları ve özgürlük arayışını da sorgulatan bir roman. 🌿
Bu kitapta sürekli bir kontrol ve çatışma havası var. Hooke’un tutkusu, Wanda’nın özgürlük isteğiyle çarpışıyor; ilişkilerde çıkar dengesi hep önde.
Karakterler aslında yüceltilmiyor, daha çok insanların tutkularının nasıl ön planda olduğu anlatılıyor. Naturalizmde genelde alt tabaka işlenir ama bu kitap “arada kalmış” bir sınıfı gösteriyor.
Karakterler psikolojik olarak da ilginç: çoğu bipolar gibi davranırken, Wanda’nın kişiliği “sınırda kişilik” olarak tanımlanabilecek türden.
En çok dikkatimi çeken şey ise şu oldu: bağımlı kişilikler hep birine tutunarak yaşıyor. Kitap boyunca bunu çok net görüyorsunuz.
Bu kitabı sevgili #1nobel1klasik grubumuz ile okuduk. Akşamki sohbetten öyle güzel bilgiler ile ayrıldık ki..her bir arkadaşıma teşekkürler 🤗 ❤️
Kısacası Sevgili Wanda, sadece bir aşk hikâyesi değil; insan ruhunu, bağımlılıkları ve özgürlük arayışını da sorgulatan bir roman. 🌿
September 28, 2022
One of my favorite book.
June 19, 2025
bu kitaptaki herkesin dengesiz olduğunu düşünüyorum, gayet güzel konu ve anlatim ama karakterler her şeyi batırmış
Displaying 1 - 7 of 7 reviews