Selected Prose of Heinrich Von Kleist

Total Page:16

File Type:pdf, Size:1020Kb

Selected Prose of Heinrich Von Kleist Selected Prose of Heinrich Von Kleist 098195572X, 9780981955728, Heinrich von Kleist, Selected Prose of Heinrich Von Kleist, 2010, 283 pages, Archipelago Books, 2010, In this extraordinary and unpredictable cross-section of the work of one of the most influential free spirits of German letters, Peter Wortsman captures the breathlessness and power of Heinrich von Kleist’s transcendent prose. These tales, essays, and fragments move across inner landscapes, exploring the shaky bridges between reason and feeling and the frontiers between the human psyche and the divine. From the "The Earthquake in Chile," his damning invective against moral tyranny; to "Michael Kohlhaas," an exploration of the extreme price of justice; to "The Marquise of O . ," his twist on the mythic triumph of love story; to his essay "On the Gradual Formulation of Thoughts While Speaking," which tracks the movements of the unconscious decades before Freud; Kleist unrelentingly confronts the dangers of self-deception and the ultimate impossibility of existence ina world of absolutes. Wortsman’s illuminating afterword demystifies Kleist’s vexed history, explaining how the century after his death saw Kleist’s legacy transformed from that of a largely derided playwright into a literary giant who would inspire Thomas Mann and Franz Kafka. The concerns of Heinrich von Kleist are timeless. The mysteries in his fiction and visionary essays still breathe. file download musu.pdf 341 pages, Heinrich von Kleist, 1982, ISBN:0826402631, Plays Selected Prose of Heinrich Von Kleist download Selected Prose of Heinrich Von Kleist pdf file Penthesilea, Jun 20, 2000, A Tragic Drama, ISBN:0060956321, 224 pages, Heinrich von Kleist, Thanks to Joel Agee's English, bold and arresting, here is a version of Kleist's Penthesilea that captures the fury--the erotic, turbulent, barely controllable tragic energies, Fiction 1994, 84 pages, UOM:39015032528674, The broken jug, after Heinrich von Kleist, Drama, John Banville, Heinrich von Kleist Von ISBN:9781849439022, Jul 22, 2010, Dennis Kelly, Heinrich von Kleist, Drama, The Prince of Homburg, 90 pages, Heroic commander of the Prussian cavalry, the Prince of Homburg dreams of victory, glory and fame. But reckless disobedience during a crucial military operation leads the 210 pages, Eric Bentley, Heinrich von Kleist, Drama, Oct 3, 2005, The Kleist Variations, The Kleist play rather leaves the impression that "God's in his Heaven, all's right with the world." Bentley juxtaposes the suicide and the play."--Jacket, ISBN:9780810121157, Three Plays download Selected Prose of Heinrich Von Kleist pdf ISBN:9781849439619, Neil Bartlett, Heinrich von Kleist, The Prince of Homburg, Drama, Tell me, please - is this a dream?' The night before he leads his troops into battle, the prince of Homburg strips off his uniform and goes sleepwalking. Moonstruck, his mind, Jan 28, 2002, 105 pages 1916, 120 pages, Heinrich von Kleist, Drama, by Heinrich von Kleist, UOM:39015052600288, The feud of the Schroffensteins pdf download Selected Prose of Heinrich Von Kleist pdf download Selected Writings, 442 pages, ISBN:0872207439, 1997, Fiction, Aiming in his translation for an English haunted and affected by the strangeness of the original, David Constantine offers a wealth of Heinrich von Kleist's key writings in, Heinrich von Kleist, David Constantine pdf UVA:X000353312, 297 pages, The Life of Heinrich Von Kleist with a Selection of Essays and Anecdotes, An Abyss Deep Enough, Heinrich Von Kleist, 1982 Prose Heinrich Heinrich von Kleist, 1978, Prince Friedrich of Homburg, ISBN:0811206947, A Drama, Drama, 92 pages, High drama and suspense mark this novel about Napoleonic hero, Prince Friedrich, who entered a life and death struggle against conformity and the state A Drama, The Battle of Herrmann, Heinrich von Kleist, ISBN:9783826035234, 165 pages, 2008 1962, Amphitryon, Heinrich Von Kleist 2005, a version of Penthesilea by Heinrich von Kleist, John Banville, Heinrich von Kleist, Love in the wars, 78 pages, Drama, UOM:39015062884880 of 104 pages, Jan 6, 2015, Fiction, "Michael Kohlhaas" is a novella written by famed writer Heinrich von Kleist (1777-1811). The story is based upon the historical figure of Hans Kohlhase, a 16th century merchant, ISBN:9781595690760, Heinrich Von Kleist, Michael Kohlhaas: A Tale from an Old Chronicle (German Classics) Kleist Heinrich von Kleist, Aug 16, 2011, ISBN:9781612190747, The Duel, 165 pages, Fiction, About This Book "No amount of wisdom could possibly make sense of the mysterious verdict which God intended through this duel." A new translation of a key work by one of pdf file Heinrich von Kleist, ISBN:9780982624678, 288 pages, Fiction, In this extraordinary and unpredictable cross-section of the work of one of the most influential free spirits of German letters, Peter Wortsman captures the breathlessness and, Feb 1, 2010, Selected Prose of Heinrich von Kleist ISBN:9781612192475, Nov 6, 2012, Fiction, "You can send me to the scaffold, but I can make you suffer, and I mean to." Based on actual historic events, this thrilling saga of violence and retribution bridged the gap, Heinrich Von Kleist, Michael Kohlhaas Selected.
Recommended publications
  • “Im Kampf, Penthesilea Und Achill”. Pentesilea Y Aquiles: ¿Kleist Y Goethe?
    “Im Kampf, Penthesilea und Achill”. Pentesilea y Aquiles: ¿Kleist y Goethe? Raúl TORRES MARTÍNEZ Universidad Nacional Autónoma de México Este pequeño ensayo pretende revisar la vieja teoría del agón literario entre Heinrich von Kleist y Johann Wolfgang Goethe, aportando algo novedoso desde el punto de vista de la Grecística, y tomando, a modo de ilustración, elementos de la tragedia Pentesilea del escritor prusiano. La Antigüedad, la androginia y el agón mismo son puntos de partida desde los que podemos sacar provecho al aproximarnos al llamado Goethezeit. PALABRAS CLAVE: mitología griega, homoerotismo, Kleist, Pentesilea, Goethezeit, Goethe. This little essay aims at elaborating on the old theory of the literary agon between the german poets Heinrich von Kleist and Johann. Wolfgang Goethe. It provides some Greek elements until almost unnoticed to modern scholars, taking, as a sort of example, the tragedy Penthesilea of the prusian author. Greek antiquity, an- drogyny and the agon itself, are points of view from wich we may win new perspectives in approaching the so-called Goethezeit. KEYWORDS: Greek mythology, homoerotism, Kleist, Penthesilea, Goethezeit, Goethe. I Wilhelm von Humboldt, en un locus classicus (Humboldt, 2002: 609) hoy, sin embar- go, casi desconocido, “Acerca de la diferencia entre los sexos y su influjo sobre la naturaleza orgánica”, publicado en 1795 en Die Horen, la revista de Schiller, dice a la letra: “La naturaleza no sería naturaleza sin él [sc. el concepto de sexo], su meca- nismo se detendría y, tanto la atracción (“Zug”) que une a todos los seres, como la lucha que todos necesitan para armarse con la energía que a cada uno le es propia, desaparecerían, si en lugar de la diferencia de sexos tuviéramos una igualdad aburrida y floja” (Humboldt, 2002: 268).
    [Show full text]
  • Die Hermannsschlacht
    WWWW ^W^H^I INTRODUCTION AND NOTES TO KLEIST'S DIE HERMANNSSCHLACHT BY FRANCES EMELINE GILKERSON, A. B. '03. THESIS FOR THE DEGREE OF MASTER OF ARTS IN THE GRADUATE SCHOOL OF THE UNIVERSITY OF ILLINOIS 1904 UNIVERSITY OF ILLINOIS THIS IS TO CERTIFY THAT THE THESIS PREPARED UNDER MY SUPERVISION BY Q^/iß^Mt St^uljIcI^ bZL^/teAsC^ ENTITLED IS APPROVED BY ME AS FULFILLING THIS PART OF THE REQUIREMENTS FOR THE DEGREE OF HEAD OF DEPARTMENT OF 4 PREFACE. This volume has been prepared to meet the demand for an .edition of Kleist' s "Die Hermannsschlacht" with English Introduction and Notes. It is designed for advanced classes, capable of reading and understanding the play as literature. As a fairly good reading knowledge of the language is taken forgranted, few grammatical passages are explained. The Introduction is intended to give such historical, biographi- cal and critical material as will prepare the student for the most profitable and appreciative reading of the play. It has been said that Kleist is one of those poets whose work cannot be fully under- stood without a knowledge of their lives. But this is perhaps less true of "Die Hermannsschlacht" than of some of Kleist' s other works. For an intelligent understanding of this drama an intimate knowledge of the condition of Germany in the early part of the Nineteenth Century is even more essential than a knowledge of the poet's life. The Notes contain such suggestions regarding classical, geo- graphical, and vague allusions as are deemed necessary or advisable for understanding this great historical drama.
    [Show full text]
  • General Index
    Cambridge University Press 0521780098 - The Cambridge Companion to Twentieth-Century Opera Edited by Mervyn Cooke Index More information General index Abbate, Carolyn 282 Bach, Johann Sebastian 105 Adam, Fra Salimbene de 36 Bachelet, Alfred 137 Adami, Giuseppe 36 Baden-Baden 133 Adamo, Mark 204 Bahr, Herrmann 150 Adams, John 55, 204, 246, 260–4, 289–90, Baird, Tadeusz 176 318, 330 Bala´zs, Be´la 67–8, 271 Ade`s, Thomas 228 ballad opera 107 Adlington, Robert 218, 219 Baragwanath, Nicholas 102 Adorno, Theodor 20, 80, 86, 90, 95, 105, 114, Barbaja, Domenico 308 122, 163, 231, 248, 269, 281 Barber, Samuel 57, 206, 331 Aeschylus 22, 52, 163 Barlach, Ernst 159 Albeniz, Isaac 127 Barry, Gerald 285 Aldeburgh Festival 213, 218 Barto´k, Be´la 67–72, 74, 168 Alfano, Franco 34, 139 The Wooden Prince 68 alienation technique: see Verfremdungse¤ekt Baudelaire, Charles 62, 64 Anderson, Laurie 207 Baylis, Lilian 326 Anderson, Marian 310 Bayreuth 14, 18, 21, 49, 61–2, 63, 125, 140, 212, Andriessen, Louis 233, 234–5 312, 316, 335, 337, 338 Matthew Passion 234 Bazin, Andre´ 271 Orpheus 234 Beaumarchais, Pierre-Augustin Angerer, Paul 285 Caron de 134 Annesley, Charles 322 Nozze di Figaro, Le 134 Ansermet, Ernest 80 Beck, Julian 244 Antheil, George 202–3 Beckett, Samuel 144 ‘anti-opera’ 182–6, 195, 241, 255, 257 Krapp’s Last Tape 144 Antoine, Andre´ 81 Play 245 Apollinaire, Guillaume 113, 141 Beeson, Jack 204, 206 Appia, Adolphe 22, 62, 336 Beethoven, Ludwig van 87, 96 Aquila, Serafino dall’ 41 Eroica Symphony 178 Aragon, Louis 250 Beineix, Jean-Jacques 282 Argento, Dominick 204, 207 Bekker, Paul 109 Aristotle 226 Bel Geddes, Norman 202 Arnold, Malcolm 285 Belcari, Feo 42 Artaud, Antonin 246, 251, 255 Bellini, Vincenzo 27–8, 107 Ashby, Arved 96 Benco, Silvio 33–4 Astaire, Adele 296, 299 Benda, Georg 90 Astaire, Fred 296 Benelli, Sem 35, 36 Astruc, Gabriel 125 Benjamin, Arthur 285 Auden, W.
    [Show full text]
  • And Prinz Friedrich Von Homburg
    HITTING ROCK BOTTOM: READING MALE SYNCOPE IN KLEIST’S DIE FAMILIE SCHROFFENSTEIN , “MICHAEL KOHLHAAS,” AND PRINZ FRIEDRICH VON HOMBURG by SUSANNE GOMOLUCH A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Germanic Languages and Literatures. Chapel Hill 2009 Approved by: Dr. Jonathan Hess (Advisor) Dr. Eric Downing Dr. Clayton Koelb ABSTRACT Susanne Gomoluch: Hitting Rock Bottom: Reading Male Syncope in Kleist’s Die Familie Schroffenstein, “Michael Kohlhaas,” and Prinz Friedrich von Homburg. (Under the direction of Dr. Jonathan Hess) This thesis examines fainting scenarios in three of Heinrich von Kleist’s works: Die Familie Schroffenstein , “Michael Kohlhaas,” and Prinz Friedrich von Homburg. In Kleist’s oeuvre, fainting is portrayed as a gradual process that even reaches beyond the act of the physical fainting of the body. Depending on the fainting protagonists’s degree of spirituality and acceptance of divine realms, syncope can also mean remedy. The first chapter provides an analysis of the Sylvester’s syncope in Die Familie Schroffenstein and shows in what way Sylvester’s fainting means remedy. The second chapter explores the fainting spells of the Saxon Elector in “Michael Kohlhaas” and focuses on the absence of spirituality. The third chapter investigates unconsciousness in Prinz Friedrich von Homburg which unlike the two previous places appears to be an example of continual syncope. ii TABLE OF CONTENTS I. Introduction ……………………………………. ....................................................1 II. Like a Phoenix from the Ashes: Fainting in “Die Familie Schroffenstein” ...........10 III. Faint at Heart: The Elector’s Fainting Spells in “Michael Kohlhaas” ...................25 IV.
    [Show full text]
  • Everybody's Talking: Non-Verbal Communication in “Über Die
    AT A LOSS FOR WORDS: NONVERBAL COMMUNICATION IN KLEIST‟S “ÜBER DIE ALLMÄHLICHE VERFERTIGUNG DER GEDANKEN BEIM REDEN,” “MICHAEL KOHLHAAS,“ AND “DER FINDLING“ Matthew Feminella A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Germanic Languages and Literatures. Chapel Hill 2010 Approved by: Dr. Clayton Koelb (Advisor) Dr. Eric Downing Dr. Jonathan Hess ABSTRACT Matthew Feminella: At a Loss for Words: Nonverbal Communication in Kleist‟s “Über die allmähliche Verfertigung der Gedanken beim Reden,” “Michael Kohlhaas,“ and “Der Findling“ (Under the direction of Dr. Clayton Koelb) This thesis examines instances of nonverbal communication in three works of Heinrich von Kleist. Once viewed outside the context of authentic communication, nonverbal signs expose structures within his texts. These structures reveal overlooked conflicts and character dynamics. The first chapter explores the essay “Über die allmähliche Verfertigung der Gedanken beim Reden,” and demonstrates that Kleist‟s model of successful speech acts as an implicit dialogue and consists of nonverbal cues performed the speech recipient. The second chapter extends this analysis to “Michael Kohlhaas,” whose protagonist is gradually exiled into a nonverbal condition. The third chapter examines the nonverbal elements in “Der Findling,” particularly glancing, and claims that through nonverbal acts characters previously thought of as passive play an additional active role. ii TABLE OF CONTENTS I. Introduction……………………………………………………………………….………..1 II. Don‟t Speak When Spoken to?: Kleist‟s Nonverbal Dialogue in “Über die allmähliche Verfertigung der Gedanken beim Reden”............................................................................9 III. Lieber ein Hund sein: Subjugation and the Nonverbal in “Michael Kohlhaas”................26 IV.
    [Show full text]
  • Broken Bodies at Play: Physical Comedy and Ironic Bodies in Heinrich Von Kleist’S Dramas
    BROKEN BODIES AT PLAY: PHYSICAL COMEDY AND IRONIC BODIES IN HEINRICH VON KLEIST’S DRAMAS by Christina Hinz A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland July 2020 © 2020 Christina Hinz All Rights Reserved Abstract The present dissertation examines broken bodies in the plays of the German dramatist Heinrich von Kleist, applying a particular focus on the movements, gestures and, most importantly, fractures and injuries of these bodies to propose their fragmentation and brokenness as a form of physical comedy and a unique conceptualization of corporeal irony. Three plays, Das Käthchen von Heilbronn, Der zerbrochne Krug and Penthesilea, exemplify Kleist’s distinctive use of organic and inorganic broken bodies as vehicles for the representation and performance of both ironic and comic effects. The approach adopted here is mostly informed by literary theory, literary aesthetics, theories of laughter and the comic, profiting mainly from the formulations of Paul de Man, Friedrich Schlegel, August Wilhelm Schlegel, Arthur Schopenhauer, Immanuel Kant and Friedrich Schiller. Putting these theories into dialogue with Kleist’s plays, I argue that he creates his own often complex form of physical comedy, achieved through the fractures, movements and appearances of the bodies, and invents an equally complex form of materialized bodily irony that lies outside the understanding of irony as a rhetorical device. I further contend that the representations and performances of Kleist’s broken bodies challenge theoretical and conceptual frameworks of this time, as detailed in the central three chapters. Adam and the titular pitcher are two broken bodies that critique dysfunctional power structures, while Käthchen’s leap from her window, fracturing her own legs, weighs in on contemporaneous ideals of femininity.
    [Show full text]
  • Kleist's Penthesilea As "Hundekomödie" Griffiths, Elystan
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Birmingham Research Portal University of Birmingham Gender, Laughter and the Desecration of Enlightenment: Kleist's Penthesilea as "Hundekomödie" Griffiths, Elystan Document Version Early version, also known as pre-print Citation for published version (Harvard): Griffiths, E 2009, 'Gender, Laughter and the Desecration of Enlightenment: Kleist's Penthesilea as "Hundekomödie"', Modern Language Review, vol. 104, no. 2, pp. 453-71. Link to publication on Research at Birmingham portal General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document. When citing, please reference the published version. Take down policy While the University of Birmingham exercises care and attention in making items available there are rare occasions when an item has been uploaded in error or has been deemed to be commercially or otherwise sensitive.
    [Show full text]
  • Kleist's Drama Die Herrmannsschlacht
    Nationalism on Stage: Kleist’s Drama Die Herrmannsschlacht Peter Hanenberg (Universidade Católica Portuguesa, CECC) Referring to Kleist’s drama Die Herrmannsschlacht (written 1808 / published 1821) and thus to Arminius, chieftain of the Cherusci, in the context of a volume on Ossian and national epics might appear misleading for three reasons. Firstly, there seems to be no clear evidence that Kleist quoted Ossian directly in his work. The only occasion when he actually mentions Ossian is in a text published in 1810 in the Berliner Abendblätter concerning the famous painting by Caspar David Friedrich, “The Monk by the Sea”. But this text is not originally by Kleist himself, rather an adaptation of one written by Clemens Brentano and Achim von Arnim (Schmidt, 2003, I: 355). Nevertheless, Wolf Gerhard Schmidt recognizes a pervasive presence of Ossian in Kleist’s work, not in terms of direct quotation, but more in the sense of imagery and style, mainly in the description of nature and conflicts (both in terms of ethics and of power and violence). 1 He even refers to the Herrmannsschlacht which presents a primary Germanic atmosphere that could not be imagined without the Ossianic tradition, particularly as developed by Klopstock (Jung, 2004). And Kleist’s Herrmann himself seems to Schmidt a protagonist modelled on Fingal in his preference for action over words, cultivating firmness and indomitability in battle with considerateness and clemency in peace (“Härte und Unbeugsamkeit im Kampf sowie Besonnenheit und Milde im Frieden”; Schmidt, 2003-4: II, 934 f.). Schmidt also recognizes that Kleist has taken these characteristics a step further to another level of deep existential uncertainty.
    [Show full text]
  • Hugo Wolf's Penthesilea
    UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ Hugo Wolf’s Penthesilea: An Analysis Using Criteria from his own Music Criticism A thesis submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of MASTER OF MUSIC in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music 2007 by Jennifer Ann Griswold-Nickel B.A., University of Cincinnati, 2003 Committee Chair: Dr. Mary Sue Morrow ABSTRACT Hugo Wolf’s music criticism in the Wiener Salonblatt (1884–1887) was published while he was actively composing his own symphonic poem Penthesilea, based on the play by Heinrich von Kleist. This criticism, along with comments in his letters (1887–1897) to friend Melanie Köchert, reveals that Wolf placed a high regard on works exhibiting originality, proper orchestration, form and compositional technique. After briefly tracing the history of music criticism in late nineteenth-century Vienna, this thesis establishes Wolf’s compositional aesthetic derived from his critical opinions about instrumental music. A structural analysis of Wolf’s Penthesilea, his only complete programmatic instrumental work, concentrates on thematic material, form, and texture and orchestration and establishes the methods by which he composed his own music. A comparison of Wolf’s aesthetic criteria to his music shows that he adhered to his own compositional aesthetic in concept, but not always in execution.
    [Show full text]
  • The Poetics of the Middle in Kleist's “Michael Kohlhaas”
    The Germanic Review, 85: 171–188, 2010 Copyright c Taylor & Francis Group, LLC ISSN: 0016-8890 DOI: 10.1080/00168890.2010.504435 The Poetics of the Middle in Kleist’s “Michael Kohlhaas” Zachary Sng Heinrich von Kleist’s story, “Michael Kohlhaas,” has been often read as a demonstration of literature’s ability to cross over and intervene in a sphere other than its own. Kleist’s text is, however, replete with instances of thwarted crossing, impassable borders, and diversion into errancy. I argue that this tension points to Kleist’s profound ambivalence toward the logic of mediation and his doubts about whether language can function as a medium for the transportation and direction of force. I read the text as an exploration of a poetics of the middle and explore (via a brief discussion of Walter Benjamin’s “Zur Kritik der Gewalt”) the implications of such a reading for claims about the its performative efficacy. Keywords: Walter Benjamin, Heinrich von Kleist, law, mediation, performativity, vio- lence f the three elements of a well-constructed plot that Aristotle identified in the Poetics—a O beginning (archeˆ), a middle (meson),andanend(telos)—it is telling that our attention has so ostentatiously pooled around the first and the last, leaving the middle high and dry.1 The middle seems to suffer from a twofold problem: it is on the one hand less tangible than beginnings and endings, but on the other possessed of sufficient self-evidence to dodge critical notice. We find the middle indispensable, in other words, because something has to come between beginning and end, but our expectations of it are set pretty low.2 The secondary scholarship on Heinrich von Kleist’s story “Michael Kohlhaas” certainly bears out this characterization: an attention to the paired problem of beginning and ending, with a corollary neglect of the middle, has long been a hobby horse of its criticism.
    [Show full text]
  • The Amazons of Exekias and Eupolis: Demystifying Changes in Gender Roles Marisa Anne Infante Southern Methodist University, [email protected]
    Southern Methodist University SMU Scholar The Larrie and Bobbi Weil Undergraduate Research Central University Libraries Award Documents 2017 The Amazons of Exekias and Eupolis: Demystifying Changes in Gender Roles Marisa Anne Infante Southern Methodist University, [email protected] Follow this and additional works at: https://scholar.smu.edu/weil_ura Part of the Ancient History, Greek and Roman through Late Antiquity Commons, Classical Archaeology and Art History Commons, History Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Infante, Marisa Anne, "The Amazons of Exekias and Eupolis: Demystifying Changes in Gender Roles" (2017). The Larrie and Bobbi Weil Undergraduate Research Award Documents. 8. https://scholar.smu.edu/weil_ura/8 This document is brought to you for free and open access by the Central University Libraries at SMU Scholar. It has been accepted for inclusion in The Larrie and Bobbi Weil Undergraduate Research Award Documents by an authorized administrator of SMU Scholar. For more information, please visit http://digitalrepository.smu.edu. The Amazons of Exekias and Eupolis: Demystifying Changes in Gender Roles Marisa Anne Infante ARHS 4310 December 14, 2016 2 Abstract In this paper, I will examine the changing gender roles of women as the Athenian government changes from a tyranny in the Archaic period to a democracy in the Classical period by comparing a Black-Figure Amphora, which depicts an image of Achilles Killing Penthesilea, by Exekias and a Red-Figure Column Krater, which depicts an image of an Amazon on Side A and an unidentified figure on Side B, by Eupolis. The creation of democracy was not the universal celebration that it is often praised to be in modern times.
    [Show full text]
  • Suddenness and Suspended Moment: Falling in Heinrich Von Kleist’S Penthesilea
    Suddenness and Suspended Moment: Falling in Heinrich von Kleist’s Penthesilea by Colleen Allen B.F.A., University of Victoria, 2005 B.A., University of Victoria, 2007 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS in the Department of Germanic and Slavic Studies Colleen Allen, 2010 University of Victoria All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. ii Suddenness and Suspended Moment: Falling in Heinrich von Kleist’s Penthesilea by Colleen Allen B.F.A., University of Victoria, 2005 B.A., University of Victoria, 2007 Supervisory Committee Dr. Matthew Pollard, Co-Supervisor (Department of Germanic and Slavic Studies) Dr. Helga Thorson, Co-Supervisor (Department of Germanic and Slavic Studies) Dr. Peter Gölz, Departmental Member (Department of Germanic and Slavic Studies) iii Supervisory Committee Dr. Matthew Pollard, Co-Supervisor (Department of Germanic and Slavic Studies) Dr. Helga Thorson, Co-Supervisor (Department of Germanic and Slavic Studies) Dr. Peter Gölz, Departmental Member (Department of Germanic and Slavic Studies) ABSTRACT In the literary works of the early nineteenth-century German writer Heinrich von Kleist there is little certainty. Kleist’s characters experience catastrophic natural and social disasters – earthquakes, revolution and war – and, as if this were not trauma enough, are subject to extreme behaviours and repeated mishaps. Characters leap from windows and break legs, stumble, faint or fall; incidents which lay bare inner psychological states that are as precarious as the external circumstances in which they find themselves.
    [Show full text]