Seattle Sounders

A judgment of the Federal Court of justice speak also for the permissibility of separate cost offsets (from 20.01.2005 – III ZR 251/04). After that running the Supreme Court inter alia that at separating brokerage contract and insurance policy not only legally, but also actually made the claim on the broker pay regardless insist the later fate of the insurance contract and a premature termination of the insurance does not touch the obligation to pay the brokerage rates. Contrary to the opinion of the 10th Civil Chamber of the Landgericht Rostock (in their judgment of the 06.08.2010-10 O 137/10) not the legal right of termination the policyholder will undermine this also or the scheme of also no penalty comes immediately. Because the closing costs could be paid by a single payment and be transparent to the policyholder. If the contract costs so clearly in mind will be the customers, it was for him to calculate whether the contract is economically meaningful. The risk one is economically necessary as detrimental given legal transaction the policyholder but then deliberately would. The Supreme Court was at the 20.03.2013 in two Revision procedure also deal with the question, whether additional cost compensation agreements are allowed.

In the process the AZ.: IV ZR 162/12 had the lower courts (LG Leipzig, 19.04.2012 3s 571/11;) AG Oschatz, Seattle Sounders 2 C-390/11) upheld the claim of the insurer on payment of the total cost in the procedure to the AZ.: IV ZR 265/12 was the insurer in the Court of appeal (LG Cottbus, 20.06.2012 1 S 142/11;) AG Lahiri 28.07.2011 20 C-226/10) remained unsuccessful. Shortly before the trial, the insurer has withdrawn his appeal against the repellent action judgment of the LG Cottbus, the dismissal was therefore valid. The second pending procedure the insurer at the hearing said the waiver of the claim pursued by him, and may require more from the respondent policyholder no further payment on the cost equalization agreement.


Within the group of “Contemporary”, the work is the result of Villaurrutia more refined and yet more full of drama. The poet is constantly looking for links with the eternal and expressed in music, however, does not lead to despair, but in that singular Nostalgia of death has a suggestive title to his collection of verses more significant. Villaurrutia is a gifted poet of vivid pictorial qualities oriented panoramas capturing morning, but also melancholy twilight in which only embodies the reality that awaits the man’s death.

These qualities are affirmed from the first collections of poems, Early Poems (1923), Reflections (1926), Two-Night (1931) and Night (1933). Things as presented to our senses, as reflected in the smoothness of glass, but in its smoothness spoils creeps the uneasy consciousness of life dominated by death, which is not really gruesome and horrifying, but rather source of nostalgia for a sense of radical orphanage. Nostalgia for Death (1938), Tenth death and other collected poems (1941) and a late Spring Song and Other Poems (1948), form, together with collections above, the whole lyrical Xavier Villaurrutia, meeting his death with his plays in poetry and theater full Villaurrutia Xavier (1953), and then the prose works (1966).

The Mexican theater owes its current importance especially to the enthusiastic and tireless work of Xavier Villaurrutia. In 1928 this author is co-founder of “Teatro Ulysses”, for the performance of Mexican works.

The founders themselves were both authors and actors. In 1934, the comedy seems impossible Villaurrutia earned a scholarship to the United States granted by the Orientation Theater, and the writer went to Yale University for a refresher course. Returning to his country, intensified its efforts for the National Theatre, and organizing a theater group: the Union of Electricians. As a playwright, Villaurrutia contributed their works to the theater with obsessive sense of death seems incredible turn around a troubling predisposition to suicide, to reconsider the issue in other parts, reaching Invitation to Death (1944) comedy in which the playwright says its full originality trying an existential problem that can penetrate deeply felt in the uniqueness of the author, and also in the Mexican in a broader sense.

Whether you shortly (1938) What do you think? (1938), Ivy (1941), the legitimate wife, (1943), The error is Hot (1945), Poor Bluebeard (1947) and Dangerous play (1949), are all titles of major dramas, the Directory of Xavier Villaurrutia , where the playwright’s personality is required in all cases the deep knowledge of this or that author, whether Cocteau, Girandoux, O’Neill, or even the same Pirandello. Several Mexican poets and playwrights of real worth that have attracted international attention, but among them stands Xavier Villaurrutia.

As the Mexican poet said: “… in the tomb statue leave my bed without blood / to leave at such a slow / down in an endless / without arms which tender / no fingers to reach the scale of a piano falling invisible / no more than a glance and a voice.”