The Devil Himself
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Goethe, the Japanese National Identity Through Cultural Exchange, 1889 to 1989
Jahrbuch für Internationale Germanistik pen Jahrgang LI – Heft 1 | Peter Lang, Bern | S. 57–100 Goethe, the Japanese National Identity through Cultural Exchange, 1889 to 1989 By Stefan Keppler-Tasaki and Seiko Tasaki, Tokyo Dedicated to A . Charles Muller on the occasion of his retirement from the University of Tokyo This is a study of the alleged “singular reception career”1 that Goethe experi- enced in Japan from 1889 to 1989, i. e., from the first translation of theMi gnon song to the last issues of the Neo Faust manga series . In its path, we will high- light six areas of discourse which concern the most prominent historical figures resp. figurations involved here: (1) the distinct academic schools of thought aligned with the topic “Goethe in Japan” since Kimura Kinji 木村謹治, (2) the tentative Japanification of Goethe by Thomas Mann and Gottfried Benn, (3) the recognition of the (un-)German classical writer in the circle of the Japanese national author Mori Ōgai 森鴎外, as well as Goethe’s rich resonances in (4) Japanese suicide ideals since the early days of Wertherism (Ueruteru-zumu ウェル テルヅム), (5) the Zen Buddhist theories of Nishida Kitarō 西田幾多郎 and D . T . Suzuki 鈴木大拙, and lastly (6) works of popular culture by Kurosawa Akira 黒澤明 and Tezuka Osamu 手塚治虫 . Critical appraisal of these source materials supports the thesis that the polite violence and interesting deceits of the discursive history of “Goethe, the Japanese” can mostly be traced back, other than to a form of speech in German-Japanese cultural diplomacy, to internal questions of Japanese national identity . -
Chicago Symphony Orchestra
Pittsburgh Symphony Orchestra 2015-2016 Mellon Grand Classics Season April 1, 2 and 3, 2016 MANFRED MARIA HONECK, CONDUCTOR EMANUEL AX, PIANO / , BOY SOLOIST / , SOPRANO / , BASS THE ALL UNIVERSITY CHOIR CHRISTINE HESTWOOD AND ROBERT PAGE, DIRECTORS / CHILDREN’S CHORUS / , DIRECTOR JOHANNES BRAHMS Concerto No. 2 in B-flat major for Piano and Orchestra, Opus 83 I. Allegro non troppo II. Allegro appassionato III. Andante IV. Allegretto grazioso Mr. Ax Intermission CARL ORFF “Fortuna imperatrix mundi” from Carmina Burana for Chorus and Orchestra LEONARD BERNSTEIN Chichester Psalms for Chorus, Boy Soloist and Orchestra I. Psalm 108, vs. 2 (Maestoso ma energico) — Psalm 100 (Allegro molto) II. Psalm 23 (Andante con moto, ma tranquillo) — Psalm 2, vs. 1-4 (Allegro feroce) — Meno come prima III. Prelude (Sostenuto molto) — Psalm 131 (Peacefully flowing) — Psalm 133, vs. 1 (Lento possibile) boy soloist GIUSEPPE VERDI Overture to La forza del destino GIUSEPPE VERDI “Te Deum” (No. 4) from Quattro Pezzi Sacri April 1-3, 2016, page 2 for Chorus and Orchestra soprano soloist ARRIGO BOITO Prologue to Mefistofele for Bass Solo, Chorus, Children’s Chorus and Orchestra bass soloist April 1-3, 2016, page 1 PROGRAM NOTES BY DR. RICHARD E. RODDA JOHANNES BRAHMS Born 7 May 1833 in Hamburg, Germany; died 3 April 1897 in Vienna, Austria Concerto No. 2 in B-flat major for Piano and Orchestra, Opus 83 (1878, 1881) PREMIERE OF WORK: Budapest, 9 November 1881; Redoutensaal; Orchestra of the National Theater; Alexander Erkel, conductor; Johannes Brahms, soloist PSO PREMIERE: 15 January 1909; Carnegie Music Hall; Emil Paur, conductor and soloist APPROXIMATE DURATION: 50 minutes INSTRUMENTATION: woodwinds in pairs plus piccolo, four horns, two trumpets, timpani and strings In April 1878, Brahms journeyed to Goethe’s “land where the lemon trees bloom” with two friends, the Viennese surgeon Theodor Billroth and the composer Carl Goldmark. -
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. -
Doktor Faust Doctor Faust Page 1 of 2 Opera Assn
San Francisco War Memorial 2003-2004 Doktor Faust Doctor Faust Page 1 of 2 Opera Assn. Opera House Doktor Faust (in German) Opera in two acts by Ferruccio Busoni Libretto by Ferruccio Busoni Conductor CAST Donald Runnicles Faust Rodney Gilfry Stage Direction and dramaturgy Wagner Friedemann Röhlig Jossi Wieler A Student from Krakow Dennis Petersen Sergio Morabito Joshua Bloom Production designer Ricardo Herrera Anna Viebrock Gravis/Jurist Gregory Stapp Lighting Designer Levis/Theologian William Pickersgill David Finn Asmodus/Natural Philosopher Jere Torkelsen Sound Designer Belzebuth/A Student Daniel Harper Roger Gans Magäros/A Platonist Richard Walker Chorus Director Mephistopheles/Night Watchman Chris Merritt Ian Robertson A Voice Dvora Djoraev Musical Preparation Virginia Pluth Paul Harris Sally Mouzon William Hobbs John Parr Gretchen's Brother (A Soldier) Johannes Martin Kränzle Sara Jobin Lieutenant Todd Geer Ernest Fredric Knell Master of Ceremonies Oren Gradus Organ Duke of Parma Jay Hunter Morris James Welch Duchess of Parma Hope Briggs Supertitles The Shy One Michael Rogers Philip Kuttner A Student from Wittenberg Todd Geer Assistant Stage Director John Ames Roy Rallo Thomas Glenn Costume supervisor Lucas Meachem Keena Golden Chris Dickerson Stage Manager Brett Finley *Role debut †U.S. opera debut PLACE AND TIME: The room where Faust works, lives and dies; a place of memory, daydreaming and obsession. Tuesday, June 15 2004, at 7:30 PM Sunday, June 20 2004, at 2:00 PM Tuesday, June 22 2004, at 7:30 PM Friday, June 25 2004, at 8:00 PM Wednesday, June 30 2004, at 7:30 PM Saturday, July 3 2004, at 8:00 PM San Francisco War Memorial 2003-2004 Doktor Faust Doctor Faust Page 2 of 2 Opera Assn. -
Inhaltsübersicht
Johann Wolfgang Goethe • Faust Inhaltsübersicht Prolog im Himmel 1 – Die Wette Seite 10 Gott (Der Herr) und der Teufel (der in diesem Stück „Mephisto- pheles“ heißt) treffen sich im Himmel. Der Teufel findet die Welt schlecht. Gott stimmt nicht zu und nennt als Beispiel den Doktor Faust, der im Grunde ein guter Mensch sei. Der Teufel wettet, dass er den Doktor Faust zum Bösen verführen wird. Gott nimmt die Wette an. Nacht 2 – Faust beschwört den Erdgeist Seite 14 Faust denkt über den Sinn seines Lebens nach. Er hat zwar alles studiert, was möglich ist. Er ist sogar Doktor. Aber das, was die Welt im Innersten zusammenhält, hat er nicht heraus bekommen. Könnte ihm die Magie (Zauberei) helfen? – Tatsächlich gelingt es ihm, den Erdgeist zu beschwören. Doch Faust kann die schreckliche Erscheinung des Erdgeistes nicht ertragen. 2 Inhaltsübersicht 3 – Faust denkt an Selbstmord Seite 19 Faust ist tief enttäuscht, weil er den Erdgeist nicht halten konnte. Was für einen Sinn hat sein Leben noch? Er nimmt Gift aus dem Regal und will Selbstmord begehen. – Aber Glockenklang und Chorgesang kündigen das Osterfest an und halten ihn von seinem Vorhaben ab. Vor dem Tor 4 – Der Osterspaziergang Seite 22 Es ist ein schöner Ostermorgen. Vor den Stadttoren spa zieren die glücklichen Menschen, Bauern, Hand- werksburschen, Dienstmädchen, Schüler, Bürger, Bettler und Soldaten. Schließlich treten auch Faust und sein Gehilfe Wagner auf. Faust freut sich an dem bunten Treiben. Zum Schluss kommt ein schwarzer Pudel zu ihnen. Studierzimmer 5 – Des Pudels Kern Seite 28 Faust nimmt den Pudel mit nach Hause und möchte seine gelehrten Studien fortsetzen. -
Proquest Dissertations
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, som e thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Artxsr, Ml 48106-1346 USA 800-521-0600 UMI* NOTE TO USERS Page(s) missing in number only; text follows. Page(s) were microfilmed as received. 131,172 This reproduction is the best copy available UMI FRANK WEDEKIND’S FANTASY WORLD: A THEATER OF SEXUALITY DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University Bv Stephanie E. -
Klaus Mann's Mephisto: a Secret Rivalry
Studies in 20th Century Literature Volume 13 Issue 2 Article 6 8-1-1989 Klaus Mann's Mephisto: A Secret Rivalry Peter T. Hoffer Philadelphia College of Pharmacy and Science Follow this and additional works at: https://newprairiepress.org/sttcl Part of the German Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Hoffer, Peter T. (1989) "Klaus Mann's Mephisto: A Secret Rivalry," Studies in 20th Century Literature: Vol. 13: Iss. 2, Article 6. https://doi.org/10.4148/2334-4415.1234 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Klaus Mann's Mephisto: A Secret Rivalry Abstract Critics of the 1960s and 1970s have focused their attention on Klaus Mann's use of his former brother-in- law, Gustaf Gründgens, as the model for the hero of his controversial novel, Mephisto, while more recent critics have emphasized its significance as a work of anti-Fascist literature. This essay seeks to resolve some of the apparent contradictions in Klaus Mann's motivation for writing Mephisto by viewing the novel primarily in the context of his life and career. Although Mephisto is the only political satire that Klaus Mann wrote, it is consistent with his life-long tendency to use autobiographical material as the basis for much of his plot and characterization. Mann transformed his ambivalent feelings about Gründgens, which long antedated the writing of Mephisto, into a unique work of fiction which simultaneously expresses his indignation over the moral bankruptcy of the Third Reich and reveals his envy of Gründgens's career successes. -
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. -
Gretchen's Shade by Nicole Martinelli, English
Commentary on “Gretchen’s Shade By Nicole Martinelli, English 275 Contracts with the devil ignorantly made, true meeting with a very forward Faust in the street, to their reunion at her neighbor’s house, this love found and lost, an innocent young girl story endeavors to turn the virginal love interest corrupted by the promises of an older man – into her own protagonist. The reader can take these tropes are neither new nor uncommon but several detours to get there, but all roads they do all culminate in Johann Wolfgang Von eventually lead back to that shade, Faust, that Goethe’s Faust. The German play surrounding she can never quite shake. Underneath the bargains made with devils give rise to dozens of deceit, of course, Faust does love Gretchen – but popular derivations from Queen’s “Bohemian never so honestly as Gretchen loves him while Rhapsody” to films like The Shining and the young girl is lusted after and preyed upon by Bedazzled and even anime like Death Note. The the older man. It’s an unfortunately common piece inspires Faustian deals to be made in all tale that is told, and lived, sorts of media and time and time again. throughout popular cul- From Lolita to Twilight, ture. the story hardly ever At its core, Faust depicts its women making may be about a man healthy decisions. seeking to live to his Here, as the read- fullest capacity and dis- er, we are offered several cover the secrets of life, decisions that differ from but we also see who the original incarnation. -
Hi Sweetheart!!!!! Adam Was a Central Figure, Along with Elohim and Jesus
Hi Sweetheart!!!!! Adam was a central figure, along with Elohim and Jesus Christ, in the creation of the earth, and I am excited to understand to learn more about him. He and Eve certainly had to be amazing people. The Doctrines of Salvation has some excellent statements regarding Adam. “Adam was placed here, not a wild, half-civilized savage, but a perfectly-developed man, with wonderful intelligence, for he helped to create this earth.” I personally don’t believe that evolution was used as part of the creative process of this earth that we now live on. I believe that this earth was assembled for our inhabitation, which entailed the placing of plants, animals, Adam, and Eve here from other worlds, rather than cultivating this earth through millennia of guided evolution. But that doesn’t mean that evolution, particularly guided evolution didn’t occur on other earths. “Adam… possessed … power to communicate his thoughts in a language, both oral and written, which was superior to anything to be found on the earth today. “… for he was taught of God, and spoKe the language of the Most High, in which angels conversed.” I suppose the Adamic language was lost at the time of the Tower of Babel – at least it is certainly NOT English, which is a mess. I hope you don’t get too comfortable hearing sentences starting with “Me and xxxxx”! Finding appropriate words for expression is sometimes difficult. Maybe the Adamic language has some level of spiritual conveyance at the same time words are spoKen, allowing us to feel meaning, instead of just hearing it. -
31- Selected Works of Louis Spohr, Volume 1: Faust (Edltion And
-31- MUSIC REVIEW Selected Works of Louis Spohr, Volume 1: Faust (edltion and editorial matters by Jonathan Stracey; Introduction by Clive Brown). Garland Publishing, 136 Madison Avenue, New York, NY 10016, March 1990. Price $155 in preliminary announcement in 1986. We have not been inforned of the present price. The final volume to be published in Garlandis ten-voLume selection of Spohrrs works is the one scheduled as VoLume One. This new edition of _ Faust goes much further than other volumes in the series which lrere either facsimiles of the composerrs autographs, reproductions of - early printed editions or j-n a few cases facsj-miLes of nodern scores nade from early seEs of parts. Ilere we have a genuinel-y critical edition which presents both SpohrIs original texr of 1813 and his revlsed version wilh recitatives of 1852 in such a clear way that it would be possible to perform either version from this score. In fact, the phrase rttwo versionstt rather begs the question as, quite early on in Faustrs stage 1ife, aLterations were nade which it becane commonplace to use. For the Frankfurt performance of 1818 Spohr added the well-known aria "Liebe ist die zarte Blllthe" as r,re11 as 1if ti-ng the scena and aria "Ich bin alLeinrr f rorn his earl j-er opera, Der Zweikanpf mit der Geliebten. Spohr gave later authority to them by uti.lising then for his 1852 Grand Opera version. The volume also incLudes facsimiLes of the printed German Libretti of both the 18L3 and 1852 versions although the point is made that the spoken dialogue was aLnost al"ways nodified from production to production. -
Ulysses in Paradise: Joyce's Dialogues with Milton by RENATA D. MEINTS ADAIL a Thesis Submitted to the University of Birmingh
Ulysses in Paradise: Joyce’s Dialogues with Milton by RENATA D. MEINTS ADAIL A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY English Studies School of English, Drama, American & Canadian Studies College of Arts and Law University of Birmingham October 2018 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis considers the imbrications created by James Joyce in his writing with the work of John Milton, through allusions, references and verbal echoes. These imbrications are analysed in light of the concept of ‘presence’, based on theories of intertextuality variously proposed by John Shawcross, Hans Ulrich Gumbrecht, and Eelco Runia. My analysis also deploys Gumbrecht’s concept of stimmung in order to explain how Joyce incorporates a Miltonic ‘atmosphere’ that pervades and enriches his characters and plot. By using a chronological approach, I show the subtlety of Milton’s presence in Joyce’s writing and Joyce’s strategy of weaving it into the ‘fabric’ of his works, from slight verbal echoes in Joyce’s early collection of poems, Chamber Music, to a culminating mass of Miltonic references and allusions in the multilingual Finnegans Wake.