[1] However, in 1946 she enrolled at Berlin University (subsequently known as "The Humboldt") where she was the youngest female student of her year group at the philosophy faculty.
[1] In November 1947 an Arts Commission ("Kommission des Kulturbundes") initiative was publicised in newspapers aimed at young people, intended to identify new writers from the younger generation who had not, till that point, had their work published.
Directly after the war, the full political and practical implications of the military division of Berlin were not immediately apparent, least of all to the city's traumatised residents, preoccupied with simply staying alive.
Writing a review in Horizont about a meeting at the local cinema in Rangsdorf, held in anticipation of the first democratic local elections since 1933, she urged her young readers, who had grown up till that point learning the advisability of remaining "silent" on political matters, to speak out: "How can we seek to build a democratic state if we dare not say what we think?"[a].
[1] True to her belief in sharing her views, in 1948, Ingeborg Euler addressed a letter to the allied military commanders controlling Berlin.
It was only through the energetic persistence of her mother, who was able to call upon backing from prominent celebrities in good standing with the Soviet authorities, including Johannes R. Becher, Gustav von Wangenheim and Günther Weisenborn, that after eleven days she was released and unceremoniously flown out of the city, ending up in Frankfurt am Main, which was in the western part of occupied Germany and a principal administrative base for the United States occupation zone.
He set her lyrics to music and accompanied her on the piano when she appeared as a young cabaret artiste in the Simpl quarter of Munich, as often as not performing together in exchange for no more than a hot dinner.
[1] In October 1949 Euler was introduced to the meetings of Group 47, a prominent circle of writers organised by (and around) Hans Werner Richter.
[6] He was working during this time as a regional editor at the Wiesbadener Kurier, until he switched to an equivalent post at the Frankfurter Rundschau in February 1957.
In 1963, he embarked on the investigation for which he would become well known across Germany, unearthing important files for what became known as the second Auschwitz trial, which involved the arrest of the former camp commander, Richard Baer.
During the early 1960s, she was commissioned to produce several documentaries for Hessischer Rundfunk, the Frankfurt-based broadcaster on contemporary history themes, including a major project on the Second World War and another on workplace accidents in industry.
Both to recover from the shock of her bereavement and to finance the family she now plunged into a full-time career as a television journalist with Hessischer Rundfunk.
The focus of her work, again, was on documentaries including the memorably titled "Beton ist fantastisch" ("Concrete is fantastic") and features on artist-celebrities.
Hintze retained his Berlin apartment and they were therefore able to keep in touch with city life and became frequent visitors to the university where they were able to attend lectures on subjects that interested them.