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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 . -
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. -
Riccardo Muti Conductor Michele Campanella Piano Eric Cutler Tenor Men of the Chicago Symphony Chorus Duain Wolfe Director Wagne
Program ONE huNdrEd TwENTy-FirST SEASON Chicago Symphony orchestra riccardo muti Music director Pierre Boulez helen regenstein Conductor Emeritus Yo-Yo ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Friday, September 30, 2011, at 8:00 Saturday, October 1, 2011, at 8:00 Tuesday, October 4, 2011, at 7:30 riccardo muti conductor michele Campanella piano Eric Cutler tenor men of the Chicago Symphony Chorus Duain Wolfe director Wagner Huldigungsmarsch Liszt Piano Concerto No. 1 in E-flat Major Allegro maestoso Quasi adagio— Allegretto vivace— Allegro marziale animato MiChElE CampanellA IntErmISSIon Liszt A Faust Symphony Faust: lento assai—Allegro impetuoso Gretchen: Andante soave Mephistopheles: Allegro vivace, ironico EriC CuTlEr MEN OF ThE Chicago SyMPhONy ChOruS This concert series is generously made possible by Mr. & Mrs. Dietrich M. Gross. The Chicago Symphony Orchestra thanks Mr. & Mrs. John Giura for their leadership support in partially sponsoring Friday evening’s performance. CSO Tuesday series concerts are sponsored by United Airlines. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. CommEntS by PhilliP huSChEr ne hundred years ago, the Chicago Symphony paid tribute Oto the centenary of the birth of Franz Liszt with the pro- gram of music Riccardo Muti conducts this week to honor the bicentennial of the composer’s birth. Today, Liszt’s stature in the music world seems diminished—his music is not all that regularly performed, aside from a few works, such as the B minor piano sonata, that have never gone out of favor; and he is more a name in the history books than an indispensable part of our concert life. -
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). -
The Randy Newman Songbook, Vol. 2 by Allen Morrison June 21St, 2011 at 1:31 Pm
Randy Newman: The Randy Newman Songbook, Vol. 2 By Allen Morrison June 21st, 2011 at 1:31 pm Randy Newman The Randy Newman Songbook, Vol. 2 (Nonesuch) Rating: Randy Newman was talking about the relationship between his film music, for which he has won two Oscars and 18 nominations, and his songwriting. “My father, who was not a musician, worshiped his brothers who did (film scoring),” he recalled in a recent NPR interview. “He thought it was the great art form of the century. He kept asking me, no matter what kind of acclaim I got early on for my songs and records, „When are you gonna do a picture?‟ It was like that was the pinnacle of music.” Newman had the unique advantage of growing up on Hollywood sound stages where his celebrated uncles – Alfred, Lionel and Emil – wrote and/or conducted the scores to dozens of films. He could have easily gone into the family business. But at first he resisted, preferring to become a professional songwriter at the age of 17, then an unlikely singer/songwriter. Lucky for us. You can hardly make a better case that songs can be the equal of any art form than the classics on display in The Randy Newman Songbook Vol. 2. The album is essential listening for those who care about American music (not just the popular variety). For younger listeners who might as yet be unfamiliar with his pre-Toy Story repertoire, these tracks might be a revelation. In the late 1960s world of confessional, mostly guitar-strumming singer-songwriters, Newman always stood apart: for his symphonic vision, backed up with superb arranging chops, as well as for the literary ambitions of his lyrics, mostly written from the point of view of unreliable narrators, sometimes tragic, more often ironic and mordantly funny. -
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. -
Faust's Self-Realization from a Buddhist Perspective
FAUST'S belong to the devil. The legend spread SELF-REALIZATION to England, where an English poet, Christopher Marlowe, attracted by the FROM A BUDDHIST motive, wrote The History of Dr. PERSPECTIVE Faustus, a tragedy about a man who sells his soul to the devil. It was the English pupet show based on the Faustus Pornsan Watananguhn Jecrendo which Goethe saw in his home- town of Frankfurt when he was young 1 and which inspired him to write The Abstract Tragedy of Faust later in his life. The aim of this paper is to investigate In the opinion of most German literary the differences between "self- realiza critics, Faust reflects the autobiography tion" within Christian-western philoso of this 1:>crreat German Poet. It is believed phy and Faust's self-realization in that Goethe must have read the story of Goethe's tragedy as received and inter Faust and been impressed by the preted in a Buddhist society. Further, the anxiety of a protagonist's thirsty to know article examines in what way the author what a man can not know. The desire to Goethe shows an ironical and critical increase his self-confidence and to attitudes towards Faust's life and how confirm himself through a better can Faust be redeemed from the guilt knowledge of the cosmos and the world and set himself free from the "karma's" leads to Faust's encounter with the devil. law of cause and effect. He gradually comes to depend on the evil spirit. Goethe started to compose Faust's Self-realization from a the Tragedy of Faust when he was 20 Buddhist Perspective during the literary period of "Storm and Stress" in the 18th century and In the 1 sth century, a young boy named completed this lifework, with many Johann Wolfgang Goethe found a small intervals, at the age of 82. -
A Improbabilidade Da Comunicação Em Monty Python
Universidade de Lisboa Faculdade de Letras A Improbabilidade da Comunicação em Monty Python André Leonel Ribeiro Duque Gomes Silva Dissertação Mestrado em Cultura e Comunicação 2013 Universidade de Lisboa Faculdade de Letras A Improbabilidade da Comunicação em Monty Python André Leonel Ribeiro Duque Gomes Silva Orientação do Prof. Doutor Manuel Frias Martins Dissertação Mestrado em Cultura e Comunicação 2013 Dedicado… Aos meus pais e à minha avó, que me apoiaram desde o início. "Suspense doesn’t have any value unless it’s balanced by humour." Alfred Hitchcock "A vida é demasiado importante para se falar dela a sério." Oscar Wilde Índice Agradecimentos .............................................................................................................. 1 Resumo ............................................................................................................................ 2 Abstract ............................................................................................................................ 2 Introdução ....................................................................................................................... 4 Parte I – Humor e comunicação .................................................................................... 8 1. Humor ...................................................................................................................... 9 1.1 Definindo conceitos ................................................................................................ 9 1.2 Teorias do -
11-08-2018 Mefistofele Eve.Indd
ARRIGO BOITO mefistofele conductor Opera in prologue, four acts, Carlo Rizzi and epilogue production Robert Carsen Libretto by the composer, based on the play Faust by set and costume designer Michael Levine Johann Wolfgang von Goethe lighting designer Thursday, November 8, 2018 Duane Schuler 7:30–11:00 PM choreographer Alphonse Poulin First time this season revival stage director Paula Suozzi The production of Mefistofelewas made possible by a generous gift from Mr. and Mrs. Julian H. Robertson, Jr., and Mrs. and Mrs. Wilmer J. Thomas, Jr. Additional funding by The Rose and Robert Edelman Foundation, Inc. general manager Peter Gelb jeanette lerman-neubauer Production co-owned by the music director Yannick Nézet-Séguin Metropolitan Opera and San Francisco Opera 2018–19 SEASON The 68th Metropolitan Opera performance of ARRIGO BOITO’S mefistofele conductor Carlo Rizzi in order of vocal appearance mefistofele Christian Van Horn faust Michael Fabiano wagner Raúl Melo margherita Angela Meade marta Theodora Hanslowe elena Jennifer Check* This performance pantalis is being broadcast Samantha Hankey DEBUT live on Metropolitan Opera Radio on nereo SiriusXM channel 75 Eduardo Valdes and streamed at metopera.org. Thursday, November 8, 2018, 7:30–11:00PM KAREN ALMOND / MET OPERA A scene from Chorus Master Donald Palumbo Boito’s Mefistofele Musical Preparation Dan Saunders, Joshua Greene, Joel Revzen, and Natalia Katyukova* Assistant Stage Directors Eric Einhorn and Shawna Lucey Projection Image Developer S. Katy Tucker Stage Band Conductors Gregory Buchalter and Jeffrey Goldberg Italian Coach Hemdi Kfir Prompter Joshua Greene Met Titles Sonya Friedman Children’s Chorus Director Anthony Piccolo Scenery, properties, and electrical props constructed in Grand Théâtre de Genève, San Francisco Opera Scenic Studio, and Metropolitan Opera Shops Costumes constructed by Grand Théâtre de Genève, San Francisco Opera Costume Shop, and Metropolitan Opera Costume Department Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department This performance uses pyrotechnic effects. -
The Faust Branch of the Anthroposophical Society in America
The Faust Branch of the Anthroposophical Society in America This local branch of the national Society has been serving the greater Sacramento area for over forty years. Applications for membership in the General Anthroposophical Society and in the Faust Branch may be obtained by contacting Ronald Koetzsch at [email protected] or by speaking to any member of the Faust Branch coordinating committee. Member’s dues are $45, payable in September. Supporting Member dues are $85 and entitle one to free admission to lectures. Donor dues are $130 and entitle one to free admission to lectures and special events. Dues and contributions help pay for mailing and printing costs, room rentals, honoraria for lecturers and artists, as well as festival celebrations. Donations beyond the membership fees are gratefully received to support the programs and activities that benefit the entire community. Those with special financial circumstances are encouraged to speak with a member of the coordinating committee. Themes for the Year 2020-2021 We will begin our year with a focus on Michael, time spirit of our age. Various topics of the day will be presented in this context. We will continue to bring attention to the individuality of Raphael and his various incarnations in this 100th anniversary of his death. The healing imaginations of the First Goetheanum will also be studied. Fall Presenters Include: ANDREW LINNELL - Lecturer, Author, Co-Founder of MysTech. President of Boston Branch of the Anthroposophical Society REV. SANFORD MILLER - Priest of the Christian Community of Sacramento DAVID GERSHAN, M.D. – Anthroposophical Physician, Family Practice in San Francisco CYNTHIA HOVEN, M.A. -
Monty Python's Completely Useless Web Site
Home Get Files From: ● MP's Flying Circus ● Completely Diff. ● Holy Grail ● Life of Brian ● Hollywood Bowl ● Meaning of Life General Information | Monty Python's Flying Circus | Monty Python and the Holy Grail | Monty Python's Life of Brian | Monty Python Live at the Hollywood Bowl | Monty Python's The Meaning of Life | Monty Python's Songs | Monty Python's Albums | Monty Python's ...or jump right to: Books ● Pictures ● Sounds ● Video General Information ● Scripts ● The Monty Python FAQ (25 Kb) Other stuff: ● Monty Python Store ● Forums RETURN TO TOP ● About Monty Python's Flying Circus Search Now: ● Episode Guide (18 Kb) ● The Man Who Speaks In Anagrams ● The Architects ● Argument Sketch ● Banter Sketch ● Bicycle Repair Man ● Buying a Bed ● Blackmail ● Dead Bishop ● The Man With Three Buttocks ● Burying The Cat ● The Cheese Shoppe ● Interview With Sir Edward Ross ● The Cycling Tour (42 Kb) ● Dennis Moore ● The Hairdressers' Ascent up Mount Everest ● Self-defense Against Fresh Fruit ● The Hospital ● Johann Gambolputty... ● The Lumberjack Song [SONG] ● The North Minehead Bye-Election ● The Money Programme ● The Money Song [SONG] ● The News For Parrots ● Penguin On The Television ● The Hungarian Phrasebook ● Flying Sheep ● The Pet Shop ● The Tale Of The Piranha Brothers (10 Kb) ● String ● A Pet Shop Near Melton Mowbray ● The Trail ● Arthur 'Two Sheds' Jackson ● The Woody Sketch ● 1972 German Special (42 Kb) RETURN TO TOP Monty Python and the Holy Grail ● Complete Script Version 1 (74 Kb) ● Complete Script Version 2 (195 Kb) ● The Album Of