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June 1962 Acknowledgments
A CRITICAL ANALYSIS OF FIVE POEMS BY ALFRED DE VIGNY "MOISE," "LA MAISON DU BERGER," "LA COLERE DE SAMSON," "LE MONT DES OLIVIERS," AND "LA MORT DU LOUP" A THESIS SUBMITTED TO THE FACULTY OF ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS BY ELAINE JOY C. RUSSELL DEPARTMENT OF FRENCH ATLANTA, GEORGIA JUNE 1962 ACKNOWLEDGMENTS In the preparation of this thesis I have received generous as sistance from many persons, and it is my wish to acknowledge their kind efforts. I am indebted to Doctor Benjamin F. Hudson, Chairman, Department of French, Atlanta University, to Mrs. Jacqueline Brimmer, Professor, Morehouse College, and to Mrs. Billie Geter Thomas, Head, Modern Language Department, Spelman College, for their kind and help ful suggestions. In addition to my professors, I wish to thank the Library staff, especially Mrs. Annabelle M. Jarrett, for all the kind assistance which I have received from them. ii TABLE OF CONTENTS Page ACKNOWLEDGMENTS ±± Chapter I. INTRODUCTION ! II. THE ORIGIN AND DEVELOPMENT OF THE ROMANTIC THEMES 5 III. THE FUNCTION OF THE POET 21 IV. THE PHILOSOPHY OF ALFRED DE VIGNI AS REVEALED IN: "LA MAISON DU BERGER, •' AND "LA COLERE DE SAMSON" 30 V. THE PHILOSOPHY OF ALFRED DE VIGNY AS REVEALED IN: »LE MONT DES OLIVIERS,» AND "LA. MORT DU LOUP" £2 Conclusion 5j^ BIBLIOGRAPHY 57 iii CHAPTER I INTRODUCTION Each literaiy movement develops its favorite themes. Love, death, religion, nature and nationalism became the great themes of the romantic period. The treatment of these themes by the precursors of romanticism was later interpreted and developed by the major romantic poets, Alphonse de Lamartine, Victor Hugo, Alfred de Musset and Alfred de Vigny. -
Students Will Develop an Understanding of the Major Ideas
SUNY Cortland Department of International Communications and Culture FRE 417/515 Romanticism & Realism Fall 2009 Bob Ponterio 3 cr. hrs Tel: 2027 home: 756-4813 M 4:20-6:50 Office: Main 223 Main 229 Office hrs: MT 9-12, & by appointment [email protected] Textes : We will use electronic texts for shorter works. Each student will also be choosing one novel to read that can either be borrowed from the library or bought online at Amazon.com: Resources utiles: Pour acheter des livres en français: http://www.alapage.fr ; http://www.amazon.fr ; http://www.archambault.ca/ ; http://www.amazon.ca Free online versions : http://gallica.bnf.fr/classique/ Styles de peinture: http://discipline.free.fr/lesstyles.htm Course Description: We will explore how changing ideas about the nature of the world and of mankind led to two major approaches to writing literature in the 19th century: Romanticism & Realism. An examination of a number of major works of poetry, drama, and prose will help us how these two different but related concepts evolved and continue to influence us today. Open to graduate and upper level undergraduate students. For upper level undergraduates who have already completed all major requirements, this course can count for SUNY Cortland’s graduate program. Évaluation: Presentations 20% (3 short in-class presentations) Papers 40% (3 : 5-page papers; 1st draft will be revised) HW 10% (short written) Final Exam 30% Objectives: Students will develop an understanding of the major ideas underpinning the romantic & realist movements and be able to recognize and explain the elements of various types of romanticism & realism in the works that they read. -
9. Gundolf's Romanticism
https://www.openbookpublishers.com © 2021 Roger Paulin This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text providing attribution is made to the authors (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: Roger Paulin, From Goethe to Gundolf: Essays on German Literature and Culture. Cambridge, UK: Open Book Publishers, 2021, https://doi.org/10.11647/OBP.0258 Copyright and permissions for the reuse of many of the images included in this publication differ from the above. Copyright and permissions information for images is provided separately in the List of Illustrations. In order to access detailed and updated information on the license, please visit, https://doi.org/10.11647/OBP.0258#copyright Further details about CC-BY licenses are available at, https://creativecommons.org/ licenses/by/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Updated digital material and resources associated with this volume are available at https://doi.org/10.11647/OBP.0258#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. ISBN Paperback: 9781800642126 ISBN Hardback: 9781800642133 ISBN Digital (PDF): 9781800642140 ISBN Digital ebook (epub): 9781800642157 ISBN Digital ebook (mobi): 9781800642164 ISBN Digital (XML): 9781800642171 DOI: 10.11647/OBP.0258 Cover photo and design by Andrew Corbett, CC-BY 4.0. -
Musset-Text.Pdf
f'. tl ;; ~" INTRODUCTION I ~, , ~I;'" '" ! Although Alfred de Musset (I8IO-57) is traditionally anthologized, with Lamartine, Vigny, and Hugo, as one of the major French Ro ~.: mantic poets, he really should be considered, with Gautier, Nerval, i~i.. .. £1....: and others, among the movement's second generation. Like many a t ~: youth, he had ambivalent feelings about the ideas and sentiments of ~,j. his elders. On the one hand, his autobiographical novel, The Confes f: {' sions of a Child of the Century, is a major model of Romantic con t fessional prose; on the other hand, he became identified among his ~~; , i" ~. peers as a major proponent of the revival of neoclassical tragedy in ~, the theater, as well as a sarcastic, even virulent, lampooner of Ro I.': ~j mantic stylistic excesses, in his widely read and amusing Letters of ~L ' Dupuis and Cotonet, in which he gave a well-known definition of F)'" Romanticism as "the overuse of adjectives." Musset's primary renown in modern times has been as a drama " :1 ,~ tist. When Vietor Hugo's Hernani and Alexandre Dumas pere's An 1"::'11 I)'p; tony were produced around f830, they made a considerable stir in "d' ~-.!j.! the theater. But the "Romantic" Musset has remained perhaps the l" only "classic" dramatist of his time. Actually, the best of his plays 11 were not staged during his life: of his most original works, What \" {I Does Marianne Want? alone was performed, in a radically altered ~J and disfigured version, in 185I. Lorenzaccio had to wait until 1896, forty years after the author's death, and was then done in a "regular ~, ized" form commissioned by Sarah Bernhardt so she might add the ~., play's hero to her list of transvestite roles - a travesty in both the :f: usual and the etymological senses of the term," ~f ~~ 'See my study Theater ofSolitude: The Drama of Alfred de Musset, Hanover, N.H., ;1 r974, pp. -
Alfred De Musset (1810-1857)
Alfred de Musset (1810-1857) 1 Biographie é le 11 décembre 1810 à Paris dans un milieu aisé et cultivé, doué de grandes facilités, le jeune Musset mena une adolescence dissipée de dandy. Il entreprit des études de droit et de médecine, qu’il ne termina pas, et fréquenta, dès 1828, Nle Cénacle romantique chez Hugo et chez Nodier, où il rencontra notamment Vigny, Mérimée et Sainte-Beuve. Précoce, brillant, célébré, il publia son premier recueil de vers, Contes d’Espagne et d’Italie (1829), à l’âge de dix-neuf ans et remporta un succès immédiat. Malgré cette gloire précoce, il connut une infortune relative avec ses pièces de théâtre, telles : la Quittance du diable, qui ne put être représentée, et la Nuit vénitienne (1830), qui fut un échec retentissant. La mort de son père en 1832 l’amena à se consacrer entièrement à la littérature et à en faire son métier. Auteur doué et sûr de son talent, il fut cependant profondément blessé et échaudé par l’échec de la Nuit vénitienne; il décida alors que les pièces qu’il écrirait seraient désormais destinées non pas à la représentation, mais - fait original et presque unique dans la littérature française - exclusivement à la lecture. Parmi les comédies de mœurs romantiques qu’il publia entre 1932 et 1934, À quoi rêvent les jeunes filles, La Coupe et les lèvres et Namouna, furent regroupées sous le titre Un spectacle dans un fauteuil, qui traduisait son choix d’écrire un théâtre destiné à être lu chez soi et non pas représenté. Les Caprices de Marianne (1833), Fantasio (1834) et On ne badine pas avec l’amour (1834) virent le jour sous la forme de livrets. -
1. Future Restoration Paul Hamilton
L Romanticism and Time EDITED BY SOPHIE LANIEL-MUSITELLI AND CÉLINE SABIRON ANIEL -M Romanticism and Time This brilliantly conceived, exhilarating, and wide-ranging collection of essays is essential reading for all those interested in taking the long view of the historical, literary, and USITELLI philosophical times of British Romanticism. Literary Temporalities Pamela Clemitt, Queen Mary, University of London Romanticism and Time is a remarkable affirmation of border-crossings and international AND EDITED BY SOPHIE LANIEL-MUSITELLI AND CÉLINE SABIRON exchanges in many ways. This major collection of essays represents the work of eminent scholars from France, Germany, Switzerland, Czechoslovakia, the United Kingdom, and the S United States, as they in turn represent the Romanticisms that emerged not only from the ABIRON “four nations” of England, Scotland, Wales, and Ireland but also from Continental Europe and America. With their commitment to diversity, to change, and to exchange, and because of their awareness of the romanticism of periodization itself, the authors in this volume ( produce, as Wordsworth might say, a “timely utterance.” EDS ) Kevis Goodman, University of California, Berkeley This volume considers Romantic poetry as embedded in and reflecting on the march R of time, regarding it not merely as a reaction to the course of events between the late- eighteenth and mid-nineteenth centuries, but also as a form of creative engagement with history in the making. Revising current thinking about periodisation, these essays survey the Romantic canon’s evolution over time and approach Romanticism as a phenomenon unfolding across national borders. As with all Open Book publica� ons, this en� re book is available to read for free on the OMANTICISM publisher’s website. -
A Survey of Intertwined Crafts in French and Francophone Literatures and Cultures
Texte et Tissu: A Survey of Intertwined Crafts in French and Francophone Literatures and Cultures By Anna Taylor Senior Honors Thesis Romance Studies, French University of North Carolina at Chapel Hill 5 April 2017 Approved: ________________________________ For my family: Erin, who gave me a pattern for living Valerie, who taught me how to embellish, and Jeff, who can iron any wrinkle. 2 Contents Introduction 4 Chapter 1: Exotic Weavers as Symbolic Authors in Graffigny and Sand 9 Chapter 2: Twisting the Thread of Destiny in Nerval and Tremblay 27 Chapter 3: Stitching and Unstitching Learning in Montaigne and Coocoo 41 Chapter 4: Faithful Weavers and Heretical Writers in Porete and Dib 56 Conclusion 77 Bibliography 80 3 Introduction In Western culture, it is difficult to study texts without encountering allusions to textiles. In both French and English, the words text and textile derive from the Latin textus meaning structure, texture, or tissue. This linguistic commonplace is evident in the language of literary criticism, when ineffective writers create plot holes, conscientious writers tie up loose ends, captivating storytellers spin yarns, and unconvincing speechmakers lose the threads of their arguments. Textile idioms also play out in the foundational myths of Western culture, from the looms of crafty goddesses in Greco-Roman epic poetry to the spiritual gifts that weavers contribute in the scriptures of the Abrahamic religions. This project explores prominent intersections between texts and textiles in works of French-speaking authors and artisans from three continents and across six centuries. Beyond the usefulness of weaving metaphors in everyday speech, this study seeks to discern potential rewards and consequences of aligning the intellectual labor of authorship with the physical, economic, and social realities of textile craftsmanship. -
The Allure and Scandal of Otherness in the Operas of Georges Bizet and Their Source Texts
W&M ScholarWorks Undergraduate Honors Theses Theses, Dissertations, & Master Projects 5-2014 The Allure and Scandal of Otherness in the Operas of Georges Bizet and their Source Texts Maria E. Santini College of William and Mary Follow this and additional works at: https://scholarworks.wm.edu/honorstheses Part of the French and Francophone Literature Commons, and the Other French and Francophone Language and Literature Commons Recommended Citation Santini, Maria E., "The Allure and Scandal of Otherness in the Operas of Georges Bizet and their Source Texts" (2014). Undergraduate Honors Theses. Paper 108. https://scholarworks.wm.edu/honorstheses/108 This Honors Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. The Allure and Scandal of Otherness in the Operas of Georges Bizet and their Source Texts By Maria Elena Santini College of William & Mary Department of French & Francophone Studies May 1, 2014 Table of Contents Acknowledgements _____________________________________________________3 Introduction ___________________________________________________________4 Chapter 1: Parisian Opera in the 19th Century ______________________________10 An opera of social dynamics ___________________________________________11 Wagner and French opera _____________________________________________15 Changing operatic -
Louise Reichardt Louise Reichardt Wurde Am 11
Reichardt, Louise Louise Reichardt Louise Reichardt wurde am 11. April 1779 als zweites Kind der Eheleute Reichardt in Berlin geboren. Ihr Vater * 11. April 1779 in Berlin, Preußen war der königlich preußische Hofkapellmeister, Kompo- † 17. November 1826 in Hamburg, nist und Musikschriftsteller Johann Friedrich Reichardt, ihre Mutter Juliane Reichardt war die Tochter des Kom- Komponistin, Sängerin, Gesangslehrerin, Chorleiterin ponisten und Kapellmeisters Franz Benda und als Sänge- rin und Komponistin sehr geschätzt. „Ich bin zu meiner unaussprechlichen Freude noch auf Nachdem ihre Mutter 1783 an Kindbettfieber gestorben meine alten Tage zu einem recht ernsten Studium der war, heiratete Johann Friedrich Reichardt die Hambur- Harmonie, wozu es in meinem Leben an Mußen gebrach ger Pastorentochter Johanna Dorothea Wilhelmina Al- gekommen und hoffe indem nie ein Frauenzimmer den berti (verwitwete Hensler). Aus dieser Ehe gingen noch- reinen vierstimmigen Satz erreicht hat, dadurch meinen mals fünf Kinder hervor, drei weitere Kinder brachte Joh- Ruf in Deutschland auf immer zu begründen.“ anna Alberti mit in die Ehe. Als älteste Tochter (ihr älterer Bruder starb 1782) über- (Brief Louise Reichardts an Wilhelm Grimm vom 6. Juni nahm Louise Reichardt schon früh die Aufgabe, sich um [1821], zitiert nach Boffo-Stetten 2000, S. 75) die Erziehung und Ausbildung ihrer Geschwister zu küm- mern (vgl. Steffens 1842, S. 230ff.) Nach Steffens war ih- Profil re Stiefmutter mit den häuslichen Angelegenheiten völlig Louise Reichardt war eine Liedkomponistin und -interp- überfordert, so dass die häusliche Verantwortung zum retin, die von dem auf dem elterlichen Gut Giebichen- großen Teil auf ihr lastete. stein weilenden romantischen Dichterkreis (Ludwig Ihr Vater, der oft ausgedehnte Bildungsreisen durch Eu- Tieck, Achim von Arnim, Clemens Brentano, die Brüder ropa unternahm und vielgelesene Reiseberichte verfass- Schlegel und Grimm, Friedrich Schleiermacher u.a.) te, war anfänglich ein glühender Verehrer der französi- hoch geschätzt wurde. -
Schriftenreihe Des Sophie Drinker Instituts
Schriftenreihe des Sophie Drinker Instituts Herausgegeben von Freia Hoffmann Band 6 Claudia Schweitzer „…ist übrigens als Lehrerinn höchst empfehlungswürdig“ Kulturgeschichte der Clavierlehrerin BIS-Verlag der Carl von Ossietzky Universität Oldenburg Das Titelzitat ist entnommen aus dem Artikel zu "Madame Bitzenberg" im "Jahrbuch der Tonkunst von Wien und Prag 1796". Fotografie Umschlagrückseite: Gabriele Kircher, Marburg BIS-Verlag, Oldenburg, 2008 Verlag / Druck / Vertrieb BIS-Verlag der Carl von Ossietzky Universität Oldenburg Postfach 25 41 26015 Oldenburg Tel.: 0441/798 2261, Telefax: 0441/798 4040 E-mail: [email protected] Internet: www.ibit.uni-oldenburg.de ISBN 978-3-8142-2124-3 Inhaltsverzeichnis Vorwort 9 Einleitung 11 Teil I Die Entwicklung in Frankreich 23 1 Musikerinnen in Frankreich 25 1.1 Erziehung französischer Mädchen 25 1.2 Generalbassspiel – eine Domäne der Frauen 40 2 Lebens- und Arbeitsverhältnisse 55 2.1 Die Frauen der Familie Couperin 55 2.2 Tätigkeitsbereiche der französischen Musikerinnen 63 2.3 Pariser Adressverzeichnisse 74 2.4 Die Wohnungen zweier Clavierlehrerinnen zu Beginn des 18. Jahrhunderts 91 3 Instrumente und Unterricht 100 3.1 Das Instrumentarium der französischen Clavierlehrerinnen 100 3.2 Die musikalische Ausbildung der Clavierlehrerinnen 111 3.3 Die französische Claviermethodik 122 3.3.1 Cembalounterricht 122 3.3.2 Generalbass und Harmonielehre 135 3.3.3 Schulwerke für die Harfe 140 3.3.4 Unterricht am Hammerclavier 148 3.3.5 Theoretischer Unterricht 161 3.4 Angélique Diderot – eine Clavierschülerin -
Thophile Gautier
THE GREAT FRENCH WRITERS FROM THE SERIES EDITEI> BV J. J. JUSSERAND THEOPHILE GAUTIER In Same Series. MADAME DE STAEL. By ALBERT SOREL. A. TRIERS. By P. DE REMUSAT. BERNARDIN DE ST. PIERRE. By ARVEDE BARINE. Others to follow. THEOPHILE GAUTIER. From a photograph by Nadar, of Paris. THEOPHILE GAUTIER M MAXIME DU CAMP TRANSLA TED BV /. GORDON PREFACE BY ANDREW LANG WITH PORTRAIT T . FISHER U N W I N PATERNOSTER SQUARE MDCCCXCIII CONTENTS. PAGE PREFACE vii CHAFFER I. YOUTH I II. CRITICISM 50 III. THE TRAVELLER 97 IV. THE STORY-TELLER 142 V. THE POET 177 PREFACE. 'T^HE life of Theophile Gautier is of peculiar interest to men of letters, especially to that large proportion of them who, like Theophile, are " polygraphes" Our ancestors more briefly termed them "hacks" and, since Dr. Johnson, or, at least, since Southey, there has been no hack so distinguislied as Theophile. His Pegasus was early broken into harness, and his biographer, M. Maxime dii Camp, like himself, is constantly regretting this bondage. Perhaps too many laments are uttered over this misfortune ; like other men, Theophile Gautier did what he could, and what it was in him to do. He was a poet, indeed, and we are asked to believe that, had the State aided him with an adequate pension, his place as a poet would have been higher, his poetic work greater in bulk, and nobler in quality. But this may well be doubted. The man of letters in Gautier was stronger than the poet ; had it not viii Preface. .been so, probably lie would have given himself more freely and with a stricter loyalty to the Muse. -
Zur Musik Liche Sollten Eben Nach Herder, Der Diesen Begriff Prägte, „Volkslieder“ Sein
Zur Musik liche sollten eben nach Herder, der diesen Begriff prägte, „Volkslieder“ sein. Louise Reichardt war mitten in diesem Geschehen – ihr Wir besitzen von L. R. nur Liedercompositionen; sie sind Vater, Joh. Friedrich Reichardt (1752-1814), gilt als einer der meist sehr einfach, ausdrucksvoll, sangbar, tiefempfun Hauptvertreter der sog. „zweiten Berliner Liederschule“ (ihr den; alle athmen ein Gefühl von milder Schwärmerei, Großvater, Franz Benda – über ihre Mutter, die Sängerin Sehnsucht und Klage.“1 Juliane Benda – gehörte zur „ersten Berliner Liederschule“). Joh. Friedrich Reichardts Werk besteht zum großen Teil aus Liedvertonungen, u.a. Gedichten von Goethe, die dieser als kongenial zu seinen Dichtungen empfand.6 Dabei wurden Louise Reichardts weltliches Liederschaffen von den Komponisten Melodien auf Gedichte gesucht, und Liedästhetik des frühen 19. Jhs. die dann wieder ins „Volk“ gelangen sollten. Auch Goethe Louise Reichardt schrieb über 60 Lieder, gedruckt erschie- schätzte es sehr, dass seine Gedichte durch die Musik (v.a. in nen seit 18062 – allerdings sind die meisten Lieder weltlich, Vertonungen von Reichardt und Carl Friedrich Zelter (1758- oft nach Gedichten empfindsamer und romantischer Dichter 1832) eine weite Verbreitung fanden und damit wieder zum wie Arnim, Brentano, Tieck u.a., aber auch auf französische Volkslied werden konnten. Einigen Komponisten der zweiten oder italienische Texte, z.B. des italienischen Dichters Metas- Berliner Liederschule ist dies gelungen wie J. A. P. Schulz mit tasio. Zeittypisch wurden diese Lieder in der bürgerlichen Der Mond ist aufgegangen oder J. Fr. Reichardt mitBunt sind Musikpraxis oft von Frauen gesungen und in schlichter Har- schon die Wälder; auch Louises Lieder erlangten teilweise 7 monisierung begleitet.