Path of exile deutsch: Path of Exile on Steam

Path of Exile on Steam


Free to Play




Play Game

 

Reviews

“PC Game of the Year 2013”
9 – Gamespot

“Path of Exile was a great game in 2013, but a slew of free expansions have only made it better. It’s one of the best ARPGs out there, and absolutely the best value.”
9 – PC Gamer (2018)

About This Game


You are an Exile, struggling to survive on the dark continent of Wraeclast, as you fight to earn power that will allow you to exact your revenge against those who wronged you. Created by hardcore gamers, Path of Exile is an online Action RPG set in a dark fantasy world. With a focus on visceral action combat, powerful items and deep character customization, Path of Exile is completely free and will never be pay-to-win.

Key Features

  • Freedom. Power. Revenge.
    Banished for your misdeeds to the dark, brutal world of Wraeclast, you play as the Duelist, Witch, Ranger, Templar, Marauder, Shadow or the Scion class. From forsaken shores through to the ruined city of Sarn, explore Wraeclast and uncover the ancient secrets waiting for you.
  • Unlimited Character Customization
    Create and customize hundreds of unique skill combinations from tradable itemized gems and our gigantic passive skill tree. Combine skill gems, support gems and trigger gems to create your own unique combination of power, defense and destruction.
  • Deadly Missions
    The Forsaken Masters each have their own style of mission and each of these missions has many variations. As you explore deeper into Wraeclast, the pool of available variations increases to challenge you in new ways. All of the Missions and their variations can occur anywhere in the game, including within end-game Maps.
  • Dressed to Kill
    Path of Exile is all about items. Find, collect and trade magic, rare and unique items with arcane properties, then customize your character build around the deadliest combinations you possess.
  • Brutal Competitive Play
    Battle in PvP tournaments seasons and Capture the Flag events for worldwide recognition. Compete in Daily Leagues and Race Events that run as separate game worlds with their own ladders and economies to win valuable prizes.
  • Customise Your Hideout
    ​In their extensive travels throughout Wraeclast, the Forsaken Masters have discovered ideal locations for an Exile to use as their own secret Hideout. Once you’ve earned a Master’s trust, you may be taken to a Hideout, where you can create your own personalised town. Masters residing in your Hideout offer you daily Missions and train you in advanced crafting options. Use your Hideout as a quiet place to craft after battle, or expand it and use it as a personalised Guild Hall with hundreds of decorations.
  • Fair-To-Play. Never Pay-To-Win.
    We’re committed to creating a fair playing field for all players. You cannot gain gameplay advantage by spending real money in Path of Exile.

Mature Content Description

The developers describe the content like this:


This Game may contain content not appropriate for all ages, or may not be appropriate for viewing at work: Nudity or Sexual Content, Frequent Violence or Gore, General Mature Content

System Requirements


Windows


macOS

    Minimum:

    • OS: Windows 7 SP1/Windows 8
    • Processor: Quad core 2.6GHz x86-compatible
    • Memory: 8 GB RAM
    • Graphics: NVIDIA® GeForce® GTX 650 Ti or ATI Radeon™ HD 7850
    • DirectX: Version 11
    • Network: Broadband Internet connection
    • Storage: 40 GB available space
    Recommended:

    • OS: Windows 10
    • Processor: Quad core 3. 2GHz x64-compatible
    • Memory: 16 GB RAM
    • Graphics: NVIDIA® GeForce® GTX 1050 Ti or ATI Radeon™ RX560
    • DirectX: Version 11
    • Network: Broadband Internet connection
    • Storage: 40 GB available space
    • Additional Notes: Solid state storage is recommended
    Minimum:

    • OS: macOS 10.13
    • Processor: 2.6GHz quad-core Intel Core i7
    • Memory: 8 GB RAM
    • Graphics: Radeon Pro 450
    • Network: Broadband Internet connection
    • Storage: 40 GB available space
    Recommended:

    • OS: macOS 10.15
    • Processor: 2.6GHz hex-core Intel Core i7
    • Memory: 16 GB RAM
    • Graphics: Radeon Pro 555X
    • Network: Broadband Internet connection
    • Storage: 40 GB available space
    • Additional Notes: Solid state storage is recommended

(c) 2006 — 2020 Grinding Gear Games Ltd.

Path of Exile Download – kostenlos – CHIP

Version 3.3.0b |
Rang 5 / 166 bei CHIP

in der Kategorie: Rollenspiele

Download

Kostenlos
  • Kostenlos
CHIP Redaktion
Sehr gut

69
Nutzerwertungen

Kompatibel mit Windows 10

und 3 weiteren Systemen.

  • Windows 10
  • Windows 8
  • Windows Vista
Sprache: Deutsch
Downloadzahl: 18.341
Version: 3.3.0b — vom
Kaufpreis:

Gratis
Hersteller: Grinding Gear Games
Dateigröße: 5,0 GByte
Kategorie: Rollenspiele
Rang: 5 / 166 bei CHIP
Verwandte Bereiche: Rollenspiel, Fantasy, Exil, Magie, Pvp, Multiplayer

Vorteile

diverse Quests und und spannende Kämpfe
packende PvP-Battles

Beschreibung

Letzte Änderungen

Path of Exile
wurde zuletzt am
07. 06.2018
aktualisiert und steht Ihnen hier
in der Version
3.3.0b
zum Download zur Verfügung.

Die CHIP Redaktion sagt:

Bei «Path of Exile» handelt es sich um ein Online-Fantasy-Rollenspiel, in dem Sie mithilfe von magischen Artefakten und Fähigkeiten um das Überleben in einer post-apokalyptischen Welt kämpfen.

Für Links auf dieser Seite zahlt der Händler ggf. eine Provision, z.B. für mit oder grüner Unterstreichung gekennzeichnete.
Mehr Infos.

Path of Exile

«Path of Exile» ist ein Free2Play-Rollenspiel. Sie werden anfangs auf einen feindlichen Kontinent namens Wraeclast verbannt und müssen dort ums blanke Überleben kämpfen. In diesem Kampf helfen Ihnen mächtige Fähigkeiten, die Ihr Charakter erlernen kann und magische Artefakte, die Sie während Ihrem Aufenthalt auf Wraeclast finden können.

Path of Exile: Magisches Fantasy-Rollenspiel

Nachdem Sie auf den verfeindeten Kontinent Wraeclast verbannt wurden, müssen Sie magische Fertigkeiten und Artefakte verwenden, um zu überleben. Das liegt daran, dass das feindliche Gebiet viele Gefahren und Kreaturen bereithält, denen Sie strotzen müssen. So kann es beispielsweise passieren, dass Sie von einem gierigen Kannibalen oder Zombie attackiert werden und sich mit Ihren erlernten Fähigkeiten gegen ihn wehren müssen.

Sie können bei Ihrer Spielfigur zwischen sechs verschiedenen Klassen (Marauder, Ranger, Witch, Duelist, Templar und Shadow) wählen. Die Wahl einer Klasse legt dabei lediglich den Rahmen des Spiels fest und schränkt Sie nicht in der Wahl Ihrer Fähigkeiten ein, da die verschiedenen Fertigkeiten nicht an spezielle Klassen gebunden sind. Darüber hinaus lassen sich Fähigkeiten mithilfe von Edelsteinen kombinieren und Sie haben somit die Möglichkeit neue, noch mächtigere Fähigkeiten zu entdecken. Auf Ihrer Reise können Sie diverse Quests komplettieren und gegen mächtige Monster antreten, um Erfahrung zu sammeln. Außerdem finden Sie beim Erkunden von Wraeclast stärkere Ausrüstung, mit der Sie immer mächtigere Gegner herausfordern können.
Eine Besonderheit von «Path of Exile» ist, dass es keine feste In-Game Währung gibt. Das bedeutet, dass Sie Gegenstände im Handel ausschließlich durch das Tauschen gegen andere Items erhalten können.

Selbstverständlich können Sie sich in «Path of Exile» auch online mit Freunden oder anderen Spielern messen. Hierzu bietet das Spiel die PvP-Umgebung, in der Sie an spannenden 1vs1 oder Teamkämpfen teilnehmen können. Das wird durch die zufällig generierten Innen- und Außenbereiche nie langwilig und sorgt für einen langfristigen Wiederspielwert.

CHIP Fazit

CHIP Fazit zu
Path of Exile

«Path of Exile» ist ein sehr gelungenes und packendes Fantasy-Rollenspiel, das durch die vielen spannenden Kämpfe und Quests glänzt. Besonders die Tatsache, dass es keine einheitliche Währung gibt und der PvP-Modus machen das Spiel einzigartig und empfehlenswert für jeden RPG-Fan.

Michael Humpa
| CHIP Software-Redaktion

  • Kostenlos

Nutzer

Newsletter

Download Tipps des Tages

Wir halten Sie zu Path of Exile und weiteren Downloads auf dem Laufenden:

New Ways of the German Novel — Questions of Literature

ABOUT THE WORKS OF ERWIN STRITTMATTER

  1. PAST AND FUTURE IN THE PRESENT

Never before in the history of Germany have so many people spoken about literature so often and for such a long time, with such enthusiasm, as in the German Democratic Republic in 1957-1959. At the republican congress and at the regional conferences of the Socialist Unity Party of Germany, at workers’, peasants’ and student meetings, at various meetings of the intelligentsia, at universities and in the aisles of workshops, during lunch breaks and in the apartments of writers, heated debates about the fate and tasks, about successes and shortcomings of modern German literature.

All ideological differences on German soil become especially acute. After all, many people there still have scars from the blows of the Gestapo lashes, many still remember very well how in March 1933 the Social Democrats, who called themselves Marxists, voted for confidence in Hitler’s government, and as aesthetes — champions of «absolute spiritual freedom» applauded the misanthropic Goebbels’ declamations. And besides, even today in the neighborhood — in Berlin, literally a few steps away — hotbeds of violent reaction still operate. And the enemies of socialism are incessantly yelling and whispering, threatening and begging in the same German language, claiming that they represent the same German people. But they are opposed by the growing and strengthening forces of progressive democracy and, in particular, the literature of socialist Germany, which is becoming more mature and rich every year.

On the whole, the German comrades cope successfully with the attacks of open enemies and with the ideological subversions of imaginary revisionist friends. But sometimes it does not go without extremes. Dogmatism and sectarianism, as is known, oppose revisionist propaganda only in words, but in fact supply it with new arguments.

So, according to the testimony of the writers of the GDR, among them there are still naive straightforward «radicals» who are ready to limit the arsenal of socialist ideology to primitive rigid schemes. In particular, they tend to depict the principles of socialist realism as a kind of set of canonical rules that, like the tablets of Moses received from Mount Sinai, arose somewhere outside and above literature and art and must be mastered by writers in the same way that a student masters the methodology of mathematical analysis or engineer new production methods.

The entire varied experience of the development of socialist culture in the Soviet Union and throughout the great camp of socialism, as well as the glorious traditions of the revolutionary-democratic and progressive humanist forces of German national history, will undoubtedly provide a correct solution to all the complex problems of contemporary German literature. And one can hope that those nationwide — in the truest sense of the word — discussions and disputes about art and literature, which are being conducted in the GDR, will undoubtedly have a beneficial effect on the work of both old and young writers and poets.

Of course, business and friendly conversations and disputes among German comrades are not an end in themselves. They reflect the living processes of the modern development of German culture, the process of the difficult but fruitful formation of German literature of socialist realism.

Of course, it didn’t start right now.

Thomas Mann once wrote bitterly: “The amazing flowering of the novel in Europe in the 19th century in England, France, Russia and Scandinavia is by no means an accident: this flowering is determined by the democratism of the novel, appropriate to our time, by its natural ability to express modern life …

The great social novels of Dickens, Thackeray, Tolstoy, Dostoyevsky, Balzac, Zola, Proust are truly monumental art of the 19th century. All these are English, French, Russian names — why are there no German ones?

… It will not be an exaggeration to say that the novel of the European type is essentially alien to Germany — this judgment is significant for the attitude of the German spirit not only to the innate democracy of the novel as an art form, but also to democracy in general in the broadest and ideal sense of the word.

The wise and sensitive artist correctly sensed and basically correctly understood one of the fundamental regularities of German cultural history.

The social novel of critical realism was fruitfully developing in France, when the storms of the revolution of 1789-1794 and the Napoleonic wars had already died down, when the shabby tinsel of the restoration was swept away by the volleys of the new revolution of 1830.

In Germany at that time several kings, dozens of sovereign dukes and princes, thousands of junkers and pastors, tens of thousands of gendarmes were in charge. And in German literature, the suffocating incense of the last romantic «blue» flowers has not yet dried up. The new forces of history, the healthiest forces of the German people, found their literary embodiment in the angry laughter and bitter tenderness of Heine, in the ardent and sarcastic verses of the revolutionary poets of the 1940s.

The highest peaks in the development of the world literature of critical realism at the end of the 19th century were the works of Tolstoy, Dostoevsky and Chekhov — writers of the country, which already in those gloomy and impoverished years was fraught with the mighty forces of the people’s revolution. And the artistic truth of Tolstoy and Dostoevsky, Chekhov and Gorky became globally significant, because it carried a living reflection of the great truth of the new historical era, because it embodied moral ideals and creative discoveries, close and dear to all people of good will of all countries and peoples.

Germany at the same time for the first time in its history was truly united, but united «from above» with the help of the rigid fastenings of military-police statehood, entwined with the tenacious web of imperialist capital. The bourgeoisie, never having managed to become a revolutionary force in national history, cowardly betrayed the people. German capitalism grew and enriched in symbiosis with the unshaken feudal aristocracy and the Junkers.

Under these conditions, literature developed difficult and inconsistently. The work of even the most gifted realist writers, such as Storm, Reuter and Fontane, in its ideological and artistic significance, almost did not go beyond the borders of their fatherland. By the end of the 19th century, Nietzsche’s extremely subjective, voluntaristic philosophical and aesthetic paradoxes were the main article of German «cultural export». Later — and to a lesser extent — the naturalistic dramaturgy of Hauptmann, in which, despite all internal contradictions, the living truth of socio-historical reality made its way. It was not until the first year of the new century that the first internationally significant German social novel appeared. These were T. Mann’s Buddenbrooks. In subsequent decades, during the First World War, revolutionary battles, crises, during the years of exile of the best German writers who fled Hitlerism, and later on the ruins and ashes of the Second World War, the development of German literature was chaotically diverse and complexly contradictory. However, realistic elements more and more clearly prevailed in it. And these realistic elements of German literature of the 20th century met with the widest and most lasting responses outside of Germany. Critical realism developed in creative polemics, overcoming, and in some cases partially “absorbing” opposing or rival aesthetic trends — naturalism, expressionism and various modernist “isms”. «. At the same time, the problems, ranges of genres and artistic means of the new realistic literature have significantly expanded.

… Socio-philosophical novels by T. Mann («Magic Mountain», «Doctor Faustus»), pamphlet-satirical novels by Heinrich Mann («Professor Unrath», «Loyal Subject»), Remarque’s lyrical social novels («All Quiet on the Western Front ”, “Three Comrades”, “Arc de Triomphe”) and the Fallades (“Little Man, What’s Next?”, “Who Ever Had a Sip from a Prison Bowl”) and various forms of historical novels in which, based on the material of the ancient and recent past, problems of topical modernity (the biblical tetralogy of Thomas Mann, the trilogy about Henry IV of Heinrich Mann, Cervantes by Bruno Frank, all the works of L. Feuchtwanger) … The manifestations of German critical realism of the 20th century were unusually diverse. Meanwhile, already in the 1920s, new ideological and creative forces arose and developed more and more widely. In the novels and stories of Becher, Zegers, Bredel, Scharrer, Weisskopf, L. Rennes, A. Zweig, in the dramaturgy of Brecht and Fr. Wolf, the lyrics of Becher, Brecht, Furenberg, Weinert embody a fundamentally different worldview and attitude and, accordingly, other aesthetic means of reflecting reality.

German literature of socialist realism, of course, is characterized by all the same basic ideological and aesthetic features that distinguish both Soviet and any other national socialist literature. At the same time, German literature also has peculiar qualities characteristic of the development of socialist realism in Germany. On the example of Brecht’s drama, this was shown by the studies of A. Anikst, I. Fradkin, E. Etkind, Yu. Yuzovsky.

However, in the epic genres — in the story, short story and especially in the novel — due to the specific features of the literary process in Germany noted above, German literature of socialist realism reveals features of striking originality. These features are very expressively embodied, in particular, in the work of Erwin Strittmatter, one of the most striking and original artists of modern Germany.

  1. WRITER FROM THE FOCUS

Erwin Strittmatter entered literature much later than Brecht, Becher and Segers. His name appeared in print for the first time only after the Second World War. His first book, The Oxdriver (Ochsenkutscber), was published in 1950, when the author was already 38 years old.

Bertolt Brecht, who was one of Strittmatter’s literary «successors» and helped him a lot with friendly participation and creative advice, spoke of him as follows: «Erwin Strittmatter belongs to those new writers who did not come out, did not grow out of the proletariat, but go and grow together with the proletariat. The son of a poor peasant, he grew up in a small Saxon village near the coal mines of the Niederlausitz Basin. Already as a teenager, he experienced the taste of salty sweat flowing down his cheekbones, tense to the point of pain, when a heavy bag of grain crushes his back, he knew how to feed sheaves into a threshing machine, when his hands go numb and seem to be dislocated in the joints, and his eyes burn unbearably from straw dust . .. He tasted the tart bitterness of need and humiliation and bright joy from a loaf of bread when hungry, from the warmth of the sun in spring, from fresh wind in summer and hot fire on a winter evening …

My father wanted Erwin to go out into the world, to become an official or a pastor. The boy was sent to a gymnasium in the district town. But the village boy was not at ease among the city children, the sons of the bourgeois and officials, who looked down on him. He ran away from the gymnasium and returned to the village.

Much in the fate of the hero of his last novel «Wizard» — Stanislaus Büdner — recreates the direct living experience of the author. Strittmatter was also a baker’s apprentice and apprentice. But, besides this, he was also a waiter in a cafe, a groom, a laborer at an optical instrument factory, a driver, a farm laborer at a poultry farm and a worker at a plastics factory …

At the same time, he continuously educated himself. He eagerly read everything that fell into his hands. Once he was hired as a watchman in the menagerie of a certain enterprising countess, who bred foxes, martens and polecats for sale. The young watchman was attracted by the countess’s library, and he negotiated for himself the right to borrow books. The countess agreed, but deducted from his salary a fee for … using the library. In those years, Strittmatter was fond of mysticism, then applied sciences, wrote poems that no one printed, fantasized, became disappointed, fell into despair and dreamed and hoped again … Then he became a soldier. The trials of these years are also reflected in the corresponding chapters of the «Wizard».

When he went to the front, the soldier Strittmatter hated war from the first days, although he did not yet understand its true meaning. He felt the deepest disgust at the ugly senselessness and inhumanity of everything that his cruel and arrogant superiors, and after them the brethren fooled by the Nazis, called «military duty», «heroism», «dignity of great Germany» . ..

books of mournful and tender poems by Rilke and sarcastically witty, hopelessly pessimistic aphorisms by Schopenhauer. At the front, he became a Tolstoyan.

L. Tolstoy’s socio-ethical utopias first attracted him because of their irreconcilable opposition to the savage reactionary theories and the bloody-dirty practice of fascism. At the same time, all the work, and with it all the thoughts of the great Russian writer, turned out to be unusually close to both the reader’s perception and the artistic worldview of Strittmatter. Not wanting to serve the inhuman Nazi regime any longer, Strittmatter deserted from the army.

After the war, he returned to his homeland and began farming with his father. He received an allotment in the course of the land reform carried out by the new German people’s authorities, enthusiastically worked in the yard and in the field, experimented in crop rotation, in fattening livestock. Soon Strittmatter became one of the organizers of an agricultural cooperative in his village.

For the first time in German history, the economy and the entire public life of the country were led by true representatives and defenders of the working people. Erwin Strittmatter, like millions of his countrymen, first felt the great truth of socialism, and then realized it in the difficult days of post-war devastation.

In dealing with those anti-fascist revolutionaries who never bowed their heads before fascist monsters, in everyday hard work on the restoration of the country, Strittmatter for the first time gained a genuine clarity of political ideas about the fate of his people and all of humanity, for the first time began to understand the real causes and the real meaning of everything what happened and is happening around him.

In 1947 he joined the Socialist Unity Party of Germany. It was during this time that he became a writer. “Without the German Democratic Republic, I would not be what I am now, I would not know what I know, I would not be able to write what I will write” 1 , — so he says about himself.

Strittmatter’s ideological maturation was controversial and often painfully difficult.

  1. «Neue deutsche Literatur», 1959, N 7. [↩]

Would you like to continue reading? Subscribe for full access to the archive.

Already subscribed? Log in to access the full text.

Sanary-sur-Mer — capital of the German exile

Paris yesterday and today

Published: Edited:

Audio 12:02

Villa rented by Thomas Mann in Sanary-sur-mer N. Sarnikov / RFI

To:

Nikita Sarnikov

Sanary-sur-mer is a resort city located in the south of France, between Toulon and Marseille. The Mediterranean coast from Marseille to Nice is called the Côte d’Azur. This is a resting place for many residents of European countries. For German writers, journalists, artists 19In the 1930s, life in Sanary had a very bitter aftertaste of exile.

Advertising

History of the city

The city was originally named after Saint Nazaire, a highly revered saint in France. Sailors especially love him, because according to legend, during a storm, he brought a ship to the shores. Suffice it to say that in France there are several cities with similar names, including the city of Saint-Nazaire, famous for its shipyards.

The modern name of the city was formed from the Provencal name — first Sant Nazari, and then Sant Nari. In 1890, the city was named Sanary, and since 1923 it officially received the modern name of Sanary-sur-mer.

Sanary-sur-mer, view of the lighthouse N. Sarnikov / RFI

The coast from Marseille to Nice is called Côte d’Azur. And this name also has its own history. The authorship belongs to Stéphen Liégeard, a major French official during the Second Empire, an amateur writer who even thought about becoming a member of the French Academy, but never achieved this goal.

In 1887 Stéphane Liégar published a travelogue entitled Côte d’Azur describing his journey from Marseille to Genoa. Since that time, this name has been established in French. It also appeared on geographical maps and was supposed to replace the old Italian name Riviera. However, in Italy and England, this coast is still called the Riviera.

Riviera or Côte d’Azur became a holiday destination (tourism did not yet exist) at the end of the 18th century. The pioneers were the British, who believed that the air on the coast contributed to the treatment of lung diseases, which, as we now know, is not true. And, nevertheless, the coast, due to its mild and warm climate, began to be visited by the British for medicinal purposes. And mostly not in the summer, as it is now, but at other times of the year. The seasons of rest then were autumn, winter or spring, but not hot summer. During the Napoleonic wars, they stopped relaxing on the Riviera (Côte d’Azur). This fashion returned only from the end of the 19th century. From that time on, the history of the modern southern cities of France should be kept, which began to organize their lives not only with the expectation of successful fishing or profitable trade, but also with the expectation of the arrival of vacationers.

Photo: Sanary-sur-mer, heavenly beach N. Sarnikov / RFI

These places generally have a very ancient history. At one time they were both Greek and Roman colonies. Until now, objects of ancient civilizations are found at the bottom of the Cote d’Azur. Moreover, for example, Marseille (then Massalia, Massalia), even during the period of Roman rule, remained a Greek city for a long time. It was there that the Romans went to study the Greek language and Greek culture, which in Greece itself had already fallen into decay by that period. For this reason, there are both Greek and Roman architectural monuments on the Côte d’Azur, but they are not comparable to those preserved in North Africa or Turkey, and therefore they are not widely known.

Each city on the coast has its own peculiarities and attractions. The city of Sanary-sur-mer considers itself the capital of German emigration from 1930 to 1940.

Sanary-sur-Mer — capital of the German exile .

With the coming to power of the Nazis in Germany, the position of the intelligentsia opposed to Nazism became dangerous. The position of the Jews in Germany became very dangerous.

From the moment the Reichstag was set on fire on the night of February 27-28, 1933, mass arrests began, a hunt began for the entire political opposition, and primarily the Communists, as well as Jews and dissidents in general. One of the first — immediately after the Reichstag fire — Anna Segers and Bertolt Brecht left Germany. 23 August 19For 33 years, the first list of undesirable persons was published — mainly writers, artists, journalists. This list includes Lion Feuchtwanger, Heinrich Mann, Ernst Toller. B. Brecht was deprived of German citizenship in 1935.

Sanary-sur-mer, memorial plaque on the house where Thomas Mann lived N. Sarnikov / RFI

Thomas Mann, the most prominent German writer among those whom the fate of an exile threw into Sanary-sur-mer, was deprived of German citizenship at 1936, after he declared in one of his articles that he took the side of the opposition to fascism and declared himself an emigrant.

The paths of the German emigration, who fled from Nazism, were difficult and tragic. One can list for a long time the cities and countries through which Bertolt Brecht had to travel, or Thomas and Katya Mann, or Leon and Martha Feuchtwanger. Many of them, by chance, spent several months of their nomadic emigre life in Sanary-sur-mer. This is evidenced by a memorial plaque located at the tourist office on the Sanari embankment. There are 36 names and surnames on this board. Some of them are very well known, others less so. In total, it is believed that on the Côte d’Azur only in the department of Var in the period from 19For 33 years to 1942, about 500 immigrants from Germany and Austria lived.

All of them are bound by one fate — the fate of an emigrant

Their situation was terrible. When they ended up in France in the 1930s, they counted on the support of the authorities. And at first they got it. Some to a greater extent, some to a lesser extent. At the same time, since they were Germans, they were considered as undesirable persons — not so long ago the war with Kaiser Germany ended and the war with Nazi Germany was already brewing.

Indeed, when the war began — in 1939 — many immigrants from Germany were imprisoned in a concentration camp.

On September 7, 1939, a concentration camp was organized in the city of Les Miles in an old tiling factory, in which immigrants from Germany and Austria were placed. Among these people were Max Ernst, Lion Feuchtwanger, Robert Liebhnet.

When France surrendered to the mercy of the victor and the country was headed by the Vichy government, it was decided to disband the concentration camp in Le Millet. Prisoners began to be transported to another place. They didn’t even know exactly where. In Nimes, Leon Feuchtwanger managed to miraculously escape from the train. Max Ernst was also lucky. Through Spain and then through Lisbon in Portugal, they were able to leave for the US. But very many prisoners of this camp subsequently shared the fate of other Jews who ended up in Nazi concentration camps.

Beginning in 1942, practically everyone who was in the Le Miles camp (dismantled on March 15, 1943) was deported first to Drancy near Paris, and then to Auschwitz. Among them could be Lion Feuchtwanger.

Another well-known writer, Nobel Prize winner in Literature Thomas Mann managed to leave for the USA with his family. This became possible after they received Czech citizenship even before the Czech Republic was conquered by Germany.

The city of Sanary-sur-Mer thus remained in history and culture as a city that received refugees from Germany, as the capital of German emigration.

“We are the capital of the Germans who fled from Hitler” – this is how the residents of Sanari proudly call themselves, but all this happened literally in the last two decades, thanks to German researchers. First of all, this is Manfred Flügge — a writer, author of a biography of Thomas Mann and author of the book «Bitter Azure», in which he just tells about the life of German emigrants in Sanary. The title of the book very accurately reflects the condition of the emigrants who lived in a beautiful place, on the sunny azure coast of the sea, but the bitterness of separation from their homeland never left them.

In Sanary-sur-Mer, Thomas Mann was finishing his work on the trilogy «Joseph and his brothers». Thomas Mann’s house has not been preserved. It was destroyed when, at the end of World War II, before the Allied landings in the south of France on the high rocky coast of Sanary-sur-Mer, first the Italian and then the German military built fortifications and artillery batteries. Almost all houses were demolished. The house where Thomas Mann lived with his family was rebuilt after the war.

In addition to German exiles, writers from other countries also lived in Sanary for some time, among them Aldous Huxley and David Herbert Lawrence, author of the famous and then very scandalous novel Lady Chatterley’s Lover. Their houses, as well as the house of Thomas Mann, were a kind of centers of culture, places of communication in which emigrants gathered.

Sanary-sur-mer, cafe on the waterfront in the port N. Sarnikov / RFI

But two cafes in the old port of Sanary — Lyon and Maritime — became the true centers of culture.

On By alexxlab