Faust 2Furious
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Samuel Ramey
welcome to LOS i\Ilgeles upera http://www.losangelesopera.comlproduction/index.asp?... •• PURCHASE TICKETS • 2003/2004 SEASON LA AMNATION DE FAD T La damnation de Faust The damnation of Faust / Hector Berlioz Nicholas and In French with English Supertitles Ticket Information Alexandra Lucia di Samuel Ramey, Synopsis Lammermoor r-----------.., Program Notes Denyce Graves and Photo Gallery Orfeo ed Euridice Paul Groves star in a spectacular new Recital: production by Achim Ask an Expert Hei-Kyung Hong Forward to a Freyer with Kent Friend Recital: Cecilia Nagano conducting. Bartoli Generously Madama Europe's master Underwritten by: Butterfly theatre artist Achim Freyer matches his New production Die Frau ohne made possible by a Schatten painterly visual imagery with Hector generous gift from Mr. and Mrs. Recital: Dmitri Berlioz's vivid musical imagination in the premiere of Hvorostovsky Milan Panic this new production featuring a cast of more than Le nozze di 100 singers and dancers. The legend of Faust, which Figaro tells the story of the man who sold his soul to the II trovatol'"e Devil, has captivated great imaginations for centuries. Marlowe, Goethe, Gounod, Schumann, Liszt, Mahler and Stravinsky all found inspiration in SEASON G!J1]) the Faust tale, which continues to reverberate in SPONSOR Audt today's modern world. Originally conceived as an oratoriO, Hector Berlioz's dramatic La damnation de Faust is now a mainstay of opera houses around the world. Haunting melodies and startling orchestrations flood the score and illustrate the beWitching tale of Faust's desperate struggle for power, riches, youth and, ultimately, redemption. PRODUCTION DATES: Wednesday September 10, 20036:30 p.m. -
Fall 2005 the Theflame Magazine of Claremont Graduate University
Flame Summer 2005Q5.qxd 11/4/05 2:32 PM Page 1 Volume 6, Number 2 Fall 2005 the TheFlame Magazine of Claremont Graduate University A Global Vision: President Robert Klitgaard brings a world of experience to CGU 1 C LAREMONT G RADUATE U NIVERSITY Flame Summer 2005Q5.qxd 11/4/05 2:32 PM Page 2 I believe that the future success of our world community theFlame lieslies inin aa tirelesstireless efforteffort toto protect and empower women The Magazine of Claremont Graduate University and children of all societies. Elizabeth Delgado’s skill at soccer led Fall 2005 to an All-American career and a full Volume 6, Number 2 scholarship to Georgetown University. The Flame is published three times Elizabeth Delgado, Ph.D. student in Political Science After graduation, Delgado worked a year by Claremont Graduate with children in Americorp’s City Year University, 150 East Tenth Street, Claremont, CA 91711. program where she helped create a ©2005 by Claremont Graduate University camp for ESL students, led community Send address changes to: service projects for Young Heroes, and Office of Alumni Affairs facilitated dialogues on racial issues and Claremont Graduate University 165 East Tenth Street discrimination for high school students. Claremont, CA 91711 [email protected] While serving an internship at U.C. Irvine’s Center for Unconventional Managing Editor Carol Bliss ’02, ’04 Security Affairs, Delgado enrolled at CGU and earned a master’s in Inter- Art Director Susan Guntner national Relations. During her doctoral Swan Graphics studies, she was awarded a CGU News Editor fellowship to study the politics of village Bryan Schneider fisherwomen in India, interviewing Alumni Editor community activists about their struggles Joy Kliewer ’97 for social justice. -
Johann Georg Faust
Johann Georg Faust Dr. Johann Georg Faust (approx. 1480 – 1540) was a German alchemist who was born in the village of Knittlingen, Württemberg (it is also claimed in Roda in the province of Weimar, and also in Helmstadt near Heidelberg in 1466). He has alternatively been known by the names “Johann Sabellicus” and “Georg Faust.” In 1507, Johannes Trithemius of Sponheim wrote that Faust was a con-man and a drifter who preyed on the gullible. He said he had fled a teaching position in Kreuznach after molesting several of the boys there. He may have then gone on to the University of Heidelberg to study, obtaining a degree in divinity from Heidelberg University in 1509, and then to Poland where a friend of Martin Luther, Philip Melanchthon, says Faust studied magic at the University of Kraków. Martin Luther and Philipp Melanchthon are said to have alleged Faust’s companionship with the devil. After that, he appears at the University of Ehrfut in central Germany. It is said that when he lectured on Homer he conjured up Homer’s heroes for his students. He was expelled from Ehrfut by the Franciscan monk Dr. Klinge (who was the cathedral preacher from 1520-1556). Dr. Klinge asked for Faust’s repentance. Faust refused the monk’s offer of intervention and admitted having signed a pact with the Devil, and said that he trusted the Devil more than God. In 1523 he is said to have visited Auerbach’s Tavern in Leipzig where he conjured wine out of a table, and rode a barrel of wine. -
The BG News September 3, 1987
Bowling Green State University ScholarWorks@BGSU BG News (Student Newspaper) University Publications 9-3-1987 The BG News September 3, 1987 Bowling Green State University Follow this and additional works at: https://scholarworks.bgsu.edu/bg-news Recommended Citation Bowling Green State University, "The BG News September 3, 1987" (1987). BG News (Student Newspaper). 4682. https://scholarworks.bgsu.edu/bg-news/4682 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Article is brought to you for free and open access by the University Publications at ScholarWorks@BGSU. It has been accepted for inclusion in BG News (Student Newspaper) by an authorized administrator of ScholarWorks@BGSU. THE BG NEWS Vol.70 Issue7 Bowling Green, Ohio Thursday, September 3,1987 War intensifies in Persian Gulf MANAMA, Bahrain (API — Iranian in February 1984. Iran attacks third- The escalation of the so-called tanker a six-week lull, reported air raids Tues- ton said the U.S. assault carrier Gua- ships attacked five vessels in a 24-hour country ships on the theory that they war increases the threat to U.S. war- day on four ships in the waterway and dalcanal rescued an Iraqi pilot Monday period, including a cargo vessel and a may be carrying cargoes to Iraq or ships escorting reflagged Kuwaiti tan- five industrial and oil targets. from the gulf waters. tanker yesterday, in an unprecedented states that allegedly support it. kers through the gulf. Two groups of re- Iraq has claimed hits on nine ships In London, meanwhile, Britain war- reprisal campaign in its 3-year-old tan- Meanwhile, Iraq said its jets hit a flagged tankers were taking on oil in since Saturday, but only five have been ned Iraq to stop attacking ships in the ker war with Iraq In the Persian Gulf, "large maritime target" off the Iranian Kuwait today, and one convoy was ex- confirmed by Lloyd's and other inde- gulf and said Iraqi military actions snipping sources said. -
Outros Faustos: As Influências Da Tradição Sobre O Fausto Pessoano
Outros Faustos: as influências da tradição sobre o Fausto pessoano Rodrigo Xavier*, Daniela Bos** & Carlos Pittella*** Palavras-chave Fausto, Influências literárias, Intertextualidade, Fernando Pessoa, Goethe, Lord Byron, Gomes Leal, Eugénio de Castro, Christopher Marlowe, Eça de Queiroz. Resumo Embora Fernando Pessoa tenha sido indiscutivelmente influenciado por Goethe ao recriar a lenda do Fausto, argumenta-se aqui que uma série de outros poetas e prosadores terão impactado, positiva e negativamente, em maior ou menor grau, o desenvolvimento do Fausto pessoano. Este artigo visa, pois, a reconstruir tais influências, a partir de evidências encontradas no espólio pessoano na Biblioteca Nacional de Portugal e na biblioteca particular do poeta na Casa Fernando Pessoa. Keywords Faust, Literary influences, Intertextuality, Fernando Pessoa, Goethe, Lord Byron, Gomes Leal, Eugénio de Castro, Christopher Marlowe, Eça de Queiroz. Abstract If Fernando Pessoa was undeniably influenced by Goethe to recreate the legend of Faust, here we argue that a series of other poets and prose writers did also impact, positively and negatively, to a greater or lesser degree, the development of Pessoa’s Faust. This article intends, thus, to reconstruct these influences, based on evidence found in the Pessoa archive at the National Library of Portugal and in the poet’s private library at the Casa Fernando Pessoa. * Universidade Federal do Rio de Janeiro, Departamento de Literaturas Vernáculas, Cátedra Jorge de Sena para Estudos Luso-Afro-Brasileiros. ** Universidade Tecnológica Federal do Paraná, Departamento de Letras. *** Brown University, Departamento de Estudos Portugueses e Brasileiros; Universidade de Lisboa, Faculdade de Letras, Centro de Estudos de Teatro. Xavier, Bos & Pittella Outros Faustos 1. -
This Electronic Thesis Or Dissertation Has Been Downloaded from Explore Bristol Research
This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: O Lynn, Aidan Anthony Title: Ghosts of War and Spirits of Place Spectral Belief in Early Modern England and Protestant Germany General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Ghosts of Place and Spirits of War: Spectral Belief in Early Modern England and Protestant Germany Aidan Anthony O’Lynn A dissertation submitted to the University of Bristol in accordance with the requirements for the award of the degree of Doctor of Philosophy in the Faculty of Arts School of History August 2018 Word Count: 79950 i Abstract This thesis focuses on themes of place and war in the development of ghostlore in Early Modern Protestant Germany and England. -
In Goethe's Faust, Unlike the Earlier Versions of the Story, the Faithless
1 In G oethe’s Faust, unlike the earlier versions of the story, the faithless sinner that is Faust receives grace and goes to Heaven, rather than being thrown to the fires of Hell. Faust’s redemption is contrary to every other redemption in every other story we have read up till now. Faust wasn’t asking forgiveness from God, unlike his beloved Margaret, and so many others before him. Faust doesn’t seem even to believe in the all mighty, even when directly talking to the Devil himself. Yet, in the end, Mephisto’s plot is foiled, Faust’s soul is not cast into the inferno, but raised to paradise. Goethe has Faust receive a secular salvation, through Faust’s actions rather than through his belief. Goethe shows both the importance of action versus words, and Faust’s familiarity with the Bible, with Faust’s translation of Logos, “It says: ‘In the beginning was the W ord… I write: In the beginning was the Act.” (G oethe's Faust, line 1224, 1237) Here, Faust demonstrates a clear understanding of a theological problem, the importance of a single word within the Bible. Having Logos translated as “the Word” has many more different implications than if it means “the Act”. The Act would imply the creation of everything was a direct application of Gods will. He did not need to say for something happen, God did something to put the universe in motion by action alone. Goethe includes this translation of Logos, as the Act instead of the Word, for several reasons. -
Gunter E. Grimm
GUNTER E. GRIMM Faust-Opern Eine Skizze Vorblatt Publikation Erstpublikation Autor Prof. Dr. Gunter E. Grimm Universität Duisburg-Essen Fachbereich Geisteswissenschaften, Germanistik Lotharstr. 65 47057 Duisburg Emailadresse: [email protected] Homepage: <http://www.uni-duisburg-essen.de/germanistik/mitarbeiterdaten.php?pid=799> Empfohlene Zitierweise Beim Zitieren empfehlen wir hinter den Titel das Datum der Einstellung oder des letzten Updates und nach der URL-Angabe das Datum Ihres letzten Besuchs die- ser Online-Adresse anzugeben: Gunter E. Grimm: Faust Opern. Eine Skizze. In: Goethezeitportal. URL: http://www.goethezeitportal.de/fileadmin/PDF/db/wiss/goethe/faust-musikalisch_grimm.pdf GUNTER E. GRIMM: Faust-Opern. Eine Skizze. S. 2 von 20 Gunter E. Grimm Faust-Opern Eine Skizze Das Faust-Thema stellt ein hervorragendes Beispiel dar, wie ein Stoff, der den dominanten Normen seines Entstehungszeitalters entspricht, bei seiner Wande- rung durch verschiedene Epochen sich den jeweils herrschenden mentalen Para- digmen anpasst. Dabei verändert der ursprüngliche Stoff sowohl seinen Charakter als auch seine Aussage. Schaubild der Faust-Opern Die „Historia von Dr. Faust“ von 1587 entspricht ganz dem christlichen Geist der Epoche. Doktor Faust gilt als Inbegriff eines hybriden Gelehrten, der über das dem Menschen zugestandene Maß an Gelehrsamkeit und Erkenntnis hinausstrebt und zu diesem Zweck einen Pakt mit dem Teufel abschließt. Er wollte, wie es im Volksbuch heißt, „alle Gründ am Himmel vnd Erden erforschen / dann sein Für- GUNTER E. GRIMM: Faust-Opern. Eine Skizze. S. 3 von 20 witz / Freyheit vnd Leichtfertigkeit stache vnnd reitzte jhn also / daß er auff eine zeit etliche zäuberische vocabula / figuras / characteres vnd coniurationes / damit er den Teufel vor sich möchte fordern / ins Werck zusetzen / vnd zu probiern jm fürname.”1 Die „Historia“ mit ihrem schrecklichen Ende stellte eine dezidierte Warnung an diejenigen dar, die sich frevelhaft über die Religion erhoben. -
A Discussion of Goethe's Faust Part 1 Rafael Sordili, Concordia University
Sordili: Nothingness on the Move Sordili 1 Nothingness on the Move: A Discussion of Goethe's Faust Part 1 Rafael Sordili, Concordia University (Editor's note: Rafael Sordili's paper was selected for publication in the 2013 Agora because it was one of the best three presented at the ACTC Student Conference at Shimer College in Chicago in March 2013.) In the world inhabited by Faust, movement is a metaphysical fact: it is an expression of divine will over creation. There are, however, negative consequences to an existence governed by motion. The most prevalent of them is a feeling of nothingness and nihilism. This essay will discuss the relations between movement and such feelings in Goethe's Faust.1 It is my thesis that the assertion of his will to life, the acceptance of his own limitations, and the creation of new personal values are the tools that will ultimately enable Faust to escape nihilism. Metaphysics of Motion Faust lives in a world in which motion is the main force behind existence. During the Prologue in Heaven, three archangels give speeches in praise of the Creator, emphasizing how the world is in a constant state of movement. Raphael states that the movement of the Sun is a form of worship: "The sun proclaims its old devotion / [. .] / and still completes in thunderous motion / the circuits of its destined years" (246-248). For Gabriel, the rotation of the earth brings movement to all the elements upon its surface: "High cliffs stand deep in ocean weather, / wide foaming waves flood out and in, / and cliffs and seas rush on together / caught in the globe's unceasing spin" (251-258). -
110273-74 Bk Boito EC 02/06/2003 09:04 Page 12
110273-74 bk Boito EC 02/06/2003 09:04 Page 12 Great Opera Recordings ADD 8.110273-74 Also available: 2 CDs BOITO Mefistofele Nazzareno de Angelis Mafalda Favero Antonio Melandri Giannina Arangi-Lombardi Chorus and Orchestra of La Scala, Milan 8.110117-18 Lorenzo Molajoli Recorded in 1931 8.110273-74 12 110273-74 bk Boito EC 02/06/2003 09:04 Page 2 Ward Marston Great Opera Recordings In 1997 Ward Marston was nominated for the Best Historical Album Grammy Award for his production work on BMG’s Fritz Kreisler collection. According to the Chicago Tribune, Marston’s name is ‘synonymous with tender loving care to collectors of historical CDs’. Opera News calls his work ‘revelatory’, and Fanfare deems him Arrigo ‘miraculous’. In 1996 Ward Marston received the Gramophone award for Historical Vocal Recording of the Year, honouring his production and engineering work on Romophone’s complete recordings of Lucrezia Bori. He also BOITO served as re-recording engineer for the Franklin Mint’s Arturo Toscanini issue and BMG’s Sergey Rachmaninov (1842-1918) recordings, both winners of the Best Historical Album Grammy. Born blind in 1952, Ward Marston has amassed tens of thousands of opera classical records over the past four decades. Following a stint in radio while a student at Williams College, he became well-known as a reissue producer in 1979, when he restored the earliest known stereo recording made by the Bell Telephone Laboratories in 1932. Mefistofele In the past, Ward Marston has produced records for a number of major and specialist record companies. -
On the Occasion of His Fifth Solo Exhibition at Galerie Buchholz, Artist Julian Göthe Presents a New Group of Sculptures and Works on Paper
Finding the radical illusion or “la chasse magique” On the occasion of his fifth solo exhibition at Galerie Buchholz, artist Julian Göthe presents a new group of sculptures and works on paper. The currents that must have inspired these works are as hard to intercept as they are impossible to list. “A lion made of assimilated sheep”, this is perhaps how Paul Valéry would call Göthe's oevre, having delicately fed on and digested so many inspirational references. Only clue that the artist provides is in the exhibition's title, which is also the title of a song by British musician Colin Newman – Their Terrain is track number one on the album Commercial Suicide, 1986. The last verse reads: After this, what next could be a question? Build the megalith again As for history we may be on a winner Or the chorus, it's a shame The parodic charge of Göthe's work finds here another fortunate momentum, a distinctly sardonic laughter permeates the rooms: objects become strange, undefinable “attractors.” It is with them that Göthe touches the limit of his aesthetic adventure – which is also the end of the adventure of representation. Göthe's megaliths actually resemble a Saint Laurent bow-tie; the twin sculptures could almost be a tart refraction of a Giorgio De Chirico sketch for the Faust (I'm thinking in particular of a drawing where Mephistopheles is portrayed as wearing a blond wig, and an explosive set of ostrich feathers seems to have set his hat on fire). The practice of the DeChirichian transvestment can be related to Göthe's also for its dissimulatingly serious aspect. -
Jacob Bidermann: Cenodoxus (1602, 1635)
1 Jacob Bidermann: Cenodoxus (1602, 1635) Jakob Bidermann (1578-1639) mit seiner Comico-Tragoedia „Cenodoxus. Der Doktor von Paris“ (1602, 1635 aus dem Lateinischen ins Deutsche übersetzt). Die Wirkung des lateinischen Jesuitendramas auf die Zuschauer soll so überwältigend gewesen sein, dass „nicht 100 Predigten eine solche Wirkung“ hätten erzielen können, 14 Hofleute hätten spontan dem Leben entsagt. Bidermann, der wichtigste Vertreter des Jesuitendramas im deutschsprachigen Raum, hat einige erfolgreiche Theaterstücke geschrieben, von denen wir gerade noch die Titel aus der Literaturgeschichte kennen, deren Themen aber viel aussagen über die Themen der 1. Hälfte des 17. Jahrhunderts: „Herodiados“, „Josaphat“ und „Jacobus usurarius“. Herodes als der Kindermörder von Bethlehem ist ein ebenso beliebter Stoff wie Herodes als Ehemann und Tyrann. Prinz Josaphat ist der Sohn des Buddha. Der Eremit Barlaam bekehrt ihn zum Christentum; er, Josaphat, seinen Vater auch. Als Prinz verzichtet er auf sein Königreich. Der Jacobus-Stoff gehört in die mittelalterliche literarische Tradition des Marienstoffes. Hier nimmt die katholische Gegen-reformation das durch die lutherische Reformation auf die biblische Maria reduzierte Thema wieder auf. Das Bidermannsche Drama ist Bekehrungsdrama. Bidermanns berühmtestes Theaterstück ist der lateinisch geschriebene „Cenodoxus“von 1602. Vorlage ist die Legende vom heiligen Bruno. Der heilige Bruno wird während der Seelenmesse für einen berühmten Doktor Zeuge eines Wunders. Die Leiche des Doktors erhebt sich dreimal von der Totenbahre und schreit jedesmal mit grauenvoller Stimme: „Aus gerechtem Urteil Gottes bin ich angeklagt“ und „... bin ich gerichtet“ und beim drittenmal: „Aus gerechtem Urteil Gottes bin ich verdammt“. Der Doktor heißt Cenodoxus, auf Deutsch der Ruhmsüchtige (El ávido de gloria). Nachdem Cenodoxus Wissen und Ruhm erlangt hat, will er nun Gott gleich werden.