DOCSLIB.ORG

The Classic, Banished, and Negative Hero

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Classic, Banished, and Negative Hero Jung Journal Culture & Psyche ISSN: (Print) (Online) Journal homepage: https://www.tandfonline.com/loi/ujun20 The Classic, Banished, and Negative Hero Isabelle Meier To cite this article: Isabelle Meier (2021) The Classic, Banished, and Negative Hero, Jung Journal, 15:1, 36-48, DOI: 10.1080/19342039.2021.1862593 To link to this article: https://doi.org/10.1080/19342039.2021.1862593 Published online: 17 Feb 2021. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=ujun20 Franz Stassen (1869–1949) illustration for Der Ring des Nibelungen (Siegfried) (The Ring of the Nibelung: Part 3: Siegfried) by Richard Wagner (1813–1883). Siegfried stabs the giant Fafner who has transformed into a dragon with the sword Nothung. (AF Fotografie/Alamy Stock Photo) Jung Journal: Culture & Psyche, Volume 15, Number 1, pp. 36–48, Print ISSN 1934-2039, Online ISSN 1934-2047. © 2021 C. G. Jung Institute of San Francisco. DOI: 10.1080/19342039.2021.1862593. Isabelle Meier, The Classic, Banished, and Negative Hero 37 The Classic, Banished, and Negative Hero ISABELLE MEIER Heroes and heroines have enlivened fairytales, myths, and stories throughout the centuries and in all cultures, and are even found in modern stories and films.1 They are an essential part of the cultural, collective story of society. Hero images transform over time; however, the hero archetype itself does not change. This is the thesis of the present contribution. The hero image can, on the one hand, represent an authoritarian figure, as Adolf Hitler was for many Germans and Josef Stalin for Russians; or, on the other, also be found in national freedom myths such as the story of William Tell, a Swiss folk hero, or in the case of Nelson Mandela, both of whom served as emancipatory figures. These images can also cement gender stereotypes such as the “strong unemotional hero” or the radiant or dark hero as seen in the figures of Batman and Superman. Inevitably, with such a vast topic, I chose to focus more on male heroic images; I explore female heroic images in a forthcoming book. C. G. Jung saw the hero myth as reflecting a stage of development, guiding the transition process from adolescence to adulthood (Stein 2006). The classic hero was youthful, often a male who emancipated himself from his parental imago in order to move into adulthood. In 1912 Jung began to study this stage of development and the hero myth/image. In his work Symbols and Changes of the Libido (later Symbols of Change [1912/1995]), he interpreted the American Miss Frank Miller’s personal fantasies through the lens of the classical hero, discuss­ ing them in a collective context. Based on the young American’s fantasy material, Jung developed the theme of the heroic journey and night sea voyage. The hero’s journey as a “quest” was closely related to Jung’s concept of individuation, which he developed later. I have been curious about what motivated Jung to write a book about the hero’s journey. Jung’s Predecessors In Symbols and Changes of the Libido Jung referred to The Age of the Sun God by the African explorer and ethnologist Leo Frobenius (1904). Frobenius collected myths about the sun god, which were published in four volumes. Throughout the world, Frobenius found a similar repetitive pattern in these myths: in societies close to the sea, the sun god is devoured by a whale, and in landlocked areas by a dragon, monster, or wolf. In one myth, the sun god symbolizes the sun as it sets in the west and rises in the east, and “by dividing the beast into [whose] body he has entered, the sun hero creates the earth from his lower body and the sky from his upper body” (Frobenius 1904, 180ff.). In many versions the imprisoned hero is able to light a fire inside the beast, which causes him to be spit out. This is the night 38 JUNG JOURNAL: CULTURE & PSYCHE 15 : 1 / WINTER 2021 sea voyage of the sun god. After the ascent, renewal of the earth begins with the sunrise. The pattern that Frobenius derived from the various myths consists of several stages: banishing, devouring, kindling the fire, and hatching. This pattern is seen in the fairytale Little Red Riding Hood, when the girl loses her way and, in one version of the story, is devoured by the wolf and then freed from his stomach. According to Frobenius, later myths speak of the virgin mother who is impregnated by the sunbeam (the sun god) in a “conceptio immaculata” and gives birth to a boy. After the birth, the boy is placed in a box, a barrel, or basket (analogies are also the ark or ship) to be cast out into the darkness. This is the boy’s night sea journey. When Frobenius published his work, it aroused interest among psychoanalysts. Jung’s interest was also reflected in the work of others such as Otto Rank (1884–1939), a close collaborator of Sigmund Freud and later editor of the magazine Imago. At Freud’s suggestion, Rank wrote a book in 1908, four years after Frobenius published his works, about the “myth of the birth of the hero,” in which he began to interpret myths in terms of developmental psychology (Rank 2000). Rank found that if “the hero’s normal relationship with father and mother was regularly disturbed, then the assumption is not unfounded that something must lie in the nature of the hero that is capable of causing such a disturbance” (77). The hero image/imago emerges as the child becomes an adult. According to Rank and early classical psychoanalytic theorists, children first idealize their parents, especially the father. In puberty, however, a detachment, or separation, begins that is driven by revenge and the unconscious tension between father and son for the attention of the mother and motivated by disappointment or anger in the parents. As Rank noted, “The heroic act [therefore lies] in overcoming the father” (2000, 115). Rank based this developmental-psychological view on his interpretation of ancient myths. In ancient myths the father often receives a prophecy that his son will one day become a powerful man. Motivated by the father’s fear of the son’s rivalry, sons are, therefore, abandoned in a vessel in water or in a cave. In Greek myths, the ancient heroes Oedipus, Paris, and Hector experienced this, as did the Babylonian Gilgamesh, the Hebrew Moses, and the ancient Indian Karna. As an adolescent, the son takes revenge, says Rank: “When it [the child] has matured, in varied ways it finds its parents again, . takes revenge on the father, is recognized and achieves greatness and fame” (2000, 91). Rank sees the ego as analogous to the hero who wants to separate from his parents and become independent. The main problem of the young person is the father onto whom the youth projects hostile feelings, just as the father is threatened by the birth of his son and orders the son’s banishment. For Rank, the box, basket, and cave are mother symbols, which signify a return to the protecting womb (2000, 156). In this view the mother appears as a “close ally of the rebellious son, who saves him from the persecutions of the father” (159). The mother protects the child’s right to life. Freud (1910) followed in similar footsteps with his depiction of the Oedipus complex. C. G. Jung’s View of the Hero’s Quest Jung was probably aware of this work by Rank and from 1906 he was in close contact with Freud. Around 1910 he also read the four books on Symbolism and Mythology of Ancient Isabelle Meier, The Classic, Banished, and Negative Hero 39 Peoples by Friedrich Creuzer, a professor of classical philology and ancient history from Heidelberg (Creuzer 1819–1821). Jung had returned to Zürich from abroad and these books fell into his hands . and it ignited! I read like a maniac, working my way with burning interest through a mountain of mythological and eventually Gnostic material and ended up in total confusion . [I] could not help but discover the close relationship of ancient mythology to the psychology of the primitives,2 which led me to an intensive study of the latter. (Jaffé 1961/1990, 166) The work of Friedrich Creuzer is not readily available. I had to go deep into the cave-like corridors of the Zürich Central Library until I finally found the four old volumes by Creuzer in the Old Prints section. Creuzer collected mountains of mythical material, yet he managed to develop some type of order. He organized the material under three headings, namely, “demonic,” “heroic,” and “divine,” although he was mainly interested in the connections between the three. The Greeks did not distinguish their hero images in these exact terms; a hero was also “semi-divine.” Creuzer maintained that Homer also referred to God with the word daimon (Creuzer 1820, vol. 3, 27). The hero, often the child of a human and a god or goddess, lives between the divine and demonic powers; according to Creuzer, this is the stuff from which myths are created. Jung was fascinated and very much taken with this view. It was diametrically opposed to that of Rank and Freud. Jung wrote: “Freud’s simultaneous interests in these matters made me uneasy, as I thought his theory prevailed over fact. In the middle of this study I came across the fantasy material of a young American woman, Miss Miller, whom I did not know” (Jaffé 1961/ 1990, 166).
Load more

Recommended publications
  • Le Cas Stassen : Un Maître Illustrateur Au Cœur Du Premier Cercle Wagnérien
    La Revue de la BNU 7 | 2013 Varia 7 Le cas Stassen : un maître illustrateur au cœur du premier cercle wagnérien Jean-Louis Elloy Édition électronique URL : https://journals.openedition.org/rbnu/2373 DOI : 10.4000/rbnu.2373 ISSN : 2679-6104 Éditeur Bibliothèque nationale et universitaire de Strasbourg Édition imprimée Date de publication : 1 mai 2013 Pagination : 86-101 ISBN : 9782859230432 ISSN : 2109-2761 Référence électronique Jean-Louis Elloy, « Le cas Stassen : un maître illustrateur au cœur du premier cercle wagnérien », La Revue de la BNU [En ligne], 7 | 2013, mis en ligne le 01 mai 2013, consulté le 08 août 2021. URL : http:// journals.openedition.org/rbnu/2373 ; DOI : https://doi.org/10.4000/rbnu.2373 La Revue de la BNU est mise à disposition selon les termes de la Licence Creative Commons Attribution - Pas d’Utilisation Commerciale - Partage dans les Mêmes Conditions 4.0 International. 88 Troisième planche du cycle de Parsifal (Berlin, Behr, 1914 ; coll. BNU) + VARIA Le cas Stassen : un maître illustrateur au cœur du premier cercle wagnérien Le riche fonds Boulet-Devraigne récemment acquis Ces dernières méritent une attention particulière à par la BNU témoigne du foisonnement iconographique plus d’un titre. Le nom de Stassen et son univers sont qu’a suscité l’œuvre de Wagner dans les décennies qui familiers à tout wagnérien. Ses Siegfried, ses Parsifal, ont suivi sa mort. Les illustrations de ce fonds sont de ses Brünnhilde et autres filles du Rhin agrémentent nature esthétique très diverse tant par leur caractère bien souvent, en vignettes décoratives, les divers que par leur projet.
    [Show full text]
  • Bibliographic Essay for Alex Ross's Wagnerism: Art and Politics in The
    Bibliographic Essay for Alex Ross’s Wagnerism: Art and Politics in the Shadow of Music The notes in the printed text of Wagnerism give sources for material quoted in the book and cite the important primary and secondary literature on which I drew. From those notes, I have assembled an alphabetized bibliography of works cited. However, my reading and research went well beyond the literature catalogued in the notes, and in the following essay I hope to give as complete an accounting of my research as I can manage. Perhaps the document will be of use to scholars doing further work on the phenomenon of Wagnerism. As I indicate in my introduction and acknowledgments, I am tremendously grateful to those who have gone before me; a not inconsiderable number of them volunteered personal assistance as I worked. Wagner has been the subject of thousands of books—although the often-quoted claim that more has been written about him than anyone except Christ or Napoleon is one of many indestructible Wagner myths. (Barry Millington, long established one of the leading Wagner commentators in English, disposes of it briskly in an essay on “Myths and Legends” in his Wagner Compendium, published by Schirmer in 1992.) Nonetheless, the literature is vast, and since Wagner himself is not the central focus of my book I won’t attempt any sort of broad survey here. I will, however, indicate the major works that guided me in assembling the piecemeal portrait of Wagner that emerges in my book. The most extensive biography, though by no means the most trustworthy, is the six- volume, thirty-one-hundred-page life by the Wagner idolater Carl Friedrich Glasenapp (Breitkopf und Härtel, 1894–1911).
    [Show full text]
  • 2013/14, Ings; the Supply of Manpower; Rivalries, and Conflicts Often Divided Ha’Aliya Quarantine Looked and Seemed
    Program in Jewish Culture & Society 2013-2014 Newsletter College of Liberal Arts and Sciences • University of Illinois at Urbana-Champaign Program in Jewish Culture & Society 1 DEAR FRIENDS, important ventures like NITMES: Network As I say every year, everything we do is in Transnational Memory Studies. In made possible by our friends and donors. November, we will host a two-day workshop The faculty we hire, the courses we teach, with our colleagues under the title the public lectures we organize, the work- “Diasporic Memories, Comparative Meth- shops we convene – the entire presence odologies.” You can read more about this of Jewish Studies at Illinois – it all comes and other exciting developments in this from the support of our contributors. newsletter. We want to thank all of our friends who continue to give with such generosity. We We are also continuing our tradition of simply couldn’t do our work without them. inviting the leading figures in Jewish Stud- ies. This academic year, we will host Paul If you are interested in becoming a friend Mendes-Flohr for a week in September, of the Program, please don’t hesitate to welcome Rachel Havrelock in October, get in touch with me at bunzl@illinois. and visit with Christine Hays and Claudia edu. Even the smallest contribution Koonz in March. makes a difference! The Program in Jewish Culture & Society at the University of Illinois is ready for an- Most importantly, though, we are a pres- Matti Bunzl other exciting year of teaching, research, ence in the classroom. Every semester, and intellectual fellowship! we offer about 20 courses, teaching well over 1,000 students in the process.
    [Show full text]
  • The Institute of Musicology at the Ludwig Maximilian University During National Socialism: the Career of the Wagner Scholar Alfred Lorenz
    The Institute of Musicology at the Ludwig Maximilian University during National Socialism: the Career of the Wagner Scholar Alfred Lorenz WILLIAM KINDERMAN Introduction It was not originally my intention to research the history of the Institute of Musicology at the Ludwig Maximilian University in Munich. When I wrote a book about Wagner’s final drama, Parsifal,1 however, I was obliged to engage with the legacy of Alfred Lorenz, whose monograph from 1933 was long regarded as the most comprehensive study of Parsifal.2 In order to best understand the work of Alfred Lorenz at the Institute of Musicology, we must briefly sketch the developing stages of Wagner reception. The history of Wagner reception after the composer’s death in 1883 is a complex story with dark contours. Important events in this development unfolded in Munich, and particularly in the main building of the Ludwig Maximilian University, just a few steps away from the institute. It makes sense to divide the history of Wagner reception in Germany into two broad periods: the 62 years from 1883 until 1945, and the 71 years from 1945 until 2016. The first of these periods was characterized by an increasingly narrow focus, whereby a Germanic-nationalist orientation assumed primacy. The important ways in which the Wagner family in Bayreuth contributed to this development was bound up with Cosima Wagner’s ambition to control the Wagnerian legacy. She was unhappy about the performances of Wagner’s first opera Die Feen (The Fairies) beginning in 1888 in Munich, and she was concerned as well about the opening at Munich in 1901 of the Prince Regent Theater, since that theater, based on plans by Max Littmann, bore a strong resemblance to the Festival Theater at Bayreuth.
    [Show full text]
  • Kunst in Christentum Und Nationalsozialismus
    DIPLOMARBEIT Titel der Diplomarbeit „RELIGIÖSE“ MALEREI Über die Vereinnahmung der Christlichen Malerei zur Erschaffung einer „Nationalsozialistischen Malerei“ Verfasserin Mag. Katharina Szlezak angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, im September 2009 Studienkennzahl lt. Studienblatt: A 315 Studienrichtung lt. Studienblatt: Kunstgeschichte Betreuer: Ao. Univ.-Prof. Dr. Walter Krause KATHARINA SZLEZAK „RELIGIÖSE“ MALEREI Über die Vereinnahmung der Christlichen Malerei zur Erschaffung einer „Nationalsozialistischen Malerei“ DANKSAGUNG DANKSAGUNG Für Clemens, meine Eltern, Marlene und alle, die mich auf meinem Studienweg begleitet haben, mit großem Dank für ihre Motivation und Inspiration. I INHALTSVERZEICHNIS INHALTSVERZEICHNIS DANKSAGUNG ...................................................................................................................................I INHALTSVERZEICHNIS .....................................................................................................................II ABBILDUNGSVERZEICHNIS ............................................................................................................III ABKÜRZUNGSVERZEICHNIS .......................................................................................................... V EINLEITUNG ......................................................................................................................................1 „RELIGIÖSE“ KUNST IN CHRISTENTUM UND NATIONALSOZIALISMUS ........................................5
    [Show full text]
  • Is It Here That Time Becomes Space? Hegel, Schopenhauer, History and Grace in Parsifal
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Royal Holloway - Pure The Wagner Journal, 3, 3, 29–59 Is it Here that Time becomes Space? Hegel, Schopenhauer, History and Grace in Parsifal Mark Berry Richard Wagner’s final drama, Parsifal, has generally been understood to represent the culmination of an ideological line very different from that of his earlier works, with the exception of Tristan und Isolde and possibly the later sections of Der Ring des Nibelungen. The revolutionary of the Dresden barricades in 1849 has finally sold out to the quietism of Schopenhauer and/or to Christianity – or, which amounts to the same thing, he has at last cast off the folly of his radical youthful flirtations. Thus Roger Scruton posits a ‘transformation of the Ring story, from Young Hegelian beginnings to a quasi-Christian or at any rate Schopenhauerian end’, in which ‘we witness a process of growing up in Wagner for which there is no equivalent in Marx’. Mention of Marx is far from inciden- tal, since Wagner is thereby achieving an emancipation from Hegel such as Marx never does. The Ring, Scruton startlingly claims, is therefore ‘not about power or money or even love; it is about original sin’.1 This nicely sets the scene for the less ambiguously Christian milieu and message of Parsifal.2 Nietzsche was more hostile: for what would a seriously intended Parsifal mean? Must one really see in it (as some- body has expressed it against me) ‘the abortion […] of a hatred of knowledge, spirit, and sensuality’? A curse upon senses and spirit in a single hatred and breath? An apos- tasy and reversion to sickly Christian and obscurantist ideals? And in the end even self-abnegation, self-striking-himself-out on the part of an artist who had previously striven with all of his will’s might to achieve the opposite, the highest spiritualisation and sensualisation in his art? […] One should remember how enthusiastically Wagner followed in the footsteps of the philosopher Feuerbach.
    [Show full text]
  • Germanic Neopaganism – a Nordic Art-Religion?
    chapter 9 Germanic Neopaganism – A Nordic Art-Religion? Aesthetic imaginaries in stories, paintings, film, and music, ranging from Wagnerian opera to contemporary black metal, Viking metal, Pagan metal, and neofolk music have had a strong impact on Asatru as well as on popular images of Nordic myth and religion. They have even shaped academic contributions to the discourse of Nordic myth. In spite of their professed commitment to aca- demic knowledge, many Asatruers mention fictional books as their main sources of inspiration and knowledge of Nordic religion. Furthermore, Asatruers often perceive their own religious practices as aesthetic activities. All of this can be attributed to the specific appeal of art and fiction in modernity. They are modes that bring to life the historical past, speak to the senses, and allow emotional identification. Artworks can create a sense of identity and community (be it national or otherwise) which goes beyond a purely fact- oriented and intellectual level; they allow the creation of coherent worlds beyond the meager and scat- tered, often contradictory primary sources. This widespread popularity has turned certain aesthetic genres – popular literature and music in particular – into privileged media in Asatru’s path toward respectability. They are media Asatruers themselves use to disseminate their thoughts and connect themselves with broader ideas about culture and identity. In addition, they are mainstream media that provide material for the construction of Heathen religion. At the same time, aesthetic approaches lend themselves to a more playful, individualized manner of conducting a spiritual life. Cont emporary Neopagan religions in par- ticular tend to perceive their spirituality as a creative process, and to assign art, music, literature, and performance spiritual qualities.
    [Show full text]
  • Works Cited in Alex Ross's Wagnerism
    Works Cited in Alex Ross’s Wagnerism: Art and Politics in the Shadow of Music Collections: Aldridge Collection, Charles Deering McCormick Special Library of Collections, Northwestern University Willa Cather Archive, University of Nebraska-Lincoln Mary Desti Papers, UCLA Library, Department of Special Collections Bundesarchiv Berlin-Lichterfelde Dujardin Papers, Harry Ransom Center, University of Texas at Austin Isabella Stewart Gardner Museum Archives Louis Kirstein Collection, Baker Library Special Collections, Harvard Business School Sidney Lanier Papers, Special Collections, Milton S. Eisenhower Library, Johns Hopkins University Thomas-Mann-Archiv, ETH Zuricḧ National Willa Cather Center, Red Cloud, Nebraska Rockefeller Family Archives Third Reich Collection, Library of Congress National Archives of the Richard Wagner Foundation Wister Papers, Library of Congress W. E. B. Du Bois Papers, Special Collections and University Archives, University of Massachusetts Amherst Libraries Richard Ellmann Papers, University of Tulsa Special Collections Emma Goldman Papers, International Institute of Social History Hanfstaengl Nachlass, Handschriften, Bayerischer Staatsbibliothek Institut für Zeitgeschichte München, Archivendatenbank Online The Joyce Papers, National Library of Ireland Howard Nemerov Papers, Washington University Libraries, Department of Special Collections Russian State Archive Toscanini Legacy Papers, Music Division, New York Public Library for the Performing Arts Owen Wister Papers, American Heritage Center, University of Wyoming Published sources: Abbate, Carolyn. Unsung Voices: Opera and Musical Narrative in the Nineteenth Century (Princeton UP, 1991). _____. “Wagner, Cinema, and Redemptive Glee,” Opera Quarterly 21:4 (2005), pp. 597–611. Abrahamsen, David. The Mind and Death of a Genius (Columbia UP, 1946). Acampora, Christa Davis. Contesting Nietzsche (Chicago UP, 2013). Acocella, Joan. Willa Cather and the Politics of Criticism (University of Nebraska Press, 2000).
    [Show full text]
  • Bayreuther Festspielen 2021 Bayreuther Festspiele, Richard Wagner, Siegfried Wagner
    Zu den Bayreuther Festspielen 2021 Bayreuther Festspiele, Richard Wagner, Siegfried Wagner Antiquariat Rainer Schlicht Berlin / Bayreuth Geschäftsbedingungen: Das Angebot des Kataloges ist freibleibend. Bestellungen werden in der Reihenfolge ihres Ein- ganges ausgeführt. Der Versand erfolgt zu Lasten des Empfängers, für Sendungen im Wert un- ter 30 Euro werden 1,50 Euro Versandkosten berechnet, darüber 4,50 Euro; ab 200 Euro Rech- nungsbetrag liefere ich versandkostenfrei (Versandkostenangaben für Versand innerhalb Deutschlands). Für den Versand ins Ausland berechne ich die reinen Portokosten. Rechnungen sind sofort nach Erhalt und ohne Abzug zahlbar. Ausländische Kunden mögen bitte spesenfrei überweisen oder bei Zahlung mit Scheck 10 Euro Bankgebühren zur Rech- nungssumme addieren. Zahlung mit PayPal ist möglich. Privatkunden aus der EU haben innerhalb von einem Monat nach Erhalt der Sendung ein Wi- derrufs- und Rückgaberecht; die Frist beginnt am Tag nach Erhalt der Sendung. Eigentumsvorbehalt gemäß § 449 BGB bis zur vollständigen Bezahlung der Ware. Für die Echt- heit der Autographen wird garantiert. Die Preise verstehen sich in Euro (€), in den Preisen ist die gesetzliche Mehrwertsteuer enthal- ten (7 % bzw. 19 %). Kontoverbindung: Postbank Nürnberg IBAN: DE07760100850247895850 SWIFT-BIC: PBNKDEFF Umsatzsteuer-Identifikationsnummer: DE 241813971 Antiquariat Rainer Schlicht Cauerstr. 20 - 10587 Berlin (Postfach 100680, 10566 Berlin) Tel. [0049] (0)30/3417735 oder [0049] (0)173/3626884 E-Mail: [email protected] www.antiquariat-schlicht.de Ladengeschäft während des Sommers 2021 bis 25. August: Richard-Wagner-Str. 22 (in der Funkhauspassage) - 95444 Bayreuth Tel. [0049] (0)921/1633644 oder [0049] (0)173/3626884 Öffnungszeiten während des Sommers 2020: Di.-Fr. 10.00-18.00 Sa. 10.00-14.00 und nach Vereinbarung Ich freue mich über Angebote von wertvollen Büchern, Musikalien, Autographen, aber auch von ganzen Bibliotheken.
    [Show full text]
  • Biografias Cortas
    BIOGRAFIAS CORTAS: Los artículos o libros que se hallan mencionados en las presentes biografías, se hallan en la biblioteca de alguno de los miembros de nuestra Associació Wagneriana. En aquellos casos en los que se trate de una obra muy importante y que no la tengamos localizada, se mencionará el hecho, indicando claramente que no se halla en poder de ningún miembro de nuestra Associació Wagneriana. Se puede consultar, tambien en BIBLIOTECA / MEDIATECA: Revistes i Folletons: B. Programas de ma, los progrmas de Bayreuth y los del Liceu, ya que varios autores aquí reseñados colaboraron en ellos. Es poco usual que los comentaristas wagnerianos, incluso los más famosos, sean referenciados en los diversos diccionarios wagnerianos editados o en las prestigiosas enciclopedias y sin embargo su labor en favor de la divulgación del wagnerismo es esencial y se pueden citar multitud de nombres en todos los países. Vamos a intentar en la medida de nuestras posibilidades hacer justicia al máximo de autores que son hoy por hoy totalmente desconocidos. Dado que son sistemáticamente olvidados, resulta en la mayoría de ocasiones muy difícil reunir incluso los más elementales datos biográficos. En algunos casos los datos nos han sido facilitados por los propios interesados antes de su fallecimiento, en otros hemos tenido que ir cogiendo retazos biográficos de uno u otro sitio y con frecuencia no disponemos de información ninguna. Disculparán las personas que consulten este apartado de nuestra web, la incompleta información, pero esperamos poco a poco ir cubriendo las numerosas lagunas. BAHR-MILDENBURG, Anna. Nació en Viena en 1872 y falleció en la misma ciudad en 1947.
    [Show full text]
  • Produced by Linda Cantoni and PG Distributed Proofreaders PARSIFAL
    Produced by Linda Cantoni and PG Distributed Proofreaders PARSIFAL: A DRAMA BY WAGNER RETOLD BY OLIVER HUCKEL BOOKS BY DR. HUCKEL MENTAL MEDICINE Some practical suggestions from a spiritual standpoint (Cloth, $1.00 net) THE MELODY OF GOD'S LOVE An interpretation of the Twenty-Third Psalm (Cloth, 75 cts. net) WAGNER'S MUSIC DRAMAS Retold in English Verse PARSIFAL page 1 / 87 TANNHAeUSER LOHENGRIN RHEINGOLD WALKUeRE (Each, cloth, 75 cents net) THOMAS Y. CROWELL & CO. [Illustration] Parsifal A MYSTICAL DRAMA BY RICHARD WAGNER RETOLD IN THE SPIRIT OF THE BAYREUTH INTERPRETATION BY Oliver Huckel MDCCCCX 1903 T.Y. Crowell & Co. page 2 / 87 Composition and plates by D.B. Updike To my Wife IN LOVING MEMORY OF BAYREUTH DAYS O.H. CONTENTS FOREWORD PART I The Coming of Parsifal PART II The Tempting of Parsifal PART III The Crowning of Parsifal LIST OF ILLUSTRATIONS page 3 / 87 Parsifal in Quest of the Holy Grail Monsalvat, the Castle of the Grail The Communion of the Holy Grail Parsifal healing King Amfortas Parsifal revealing the Holy Grail ILLUSTRATED BY FRANZ STASSEN FOREWORD The Parsifal of Richard Wagner was not only the last and loftiest work of his genius, but it is also one of the few great dramas of modern times,--a drama which unfolds striking and impressive spiritual teachings. Indeed, Parsifal may be called Richard Wagner's great confession of faith. He takes the legend of the Holy Grail, and uses it to portray wonderfully and thrillingly the Christian truths of the beauty, the glory, and the inspiring power of the Lord's Supper, and the infinite meaning of the redeeming love of the Cross.
    [Show full text]
  • Franz Stassen
    Franz Stassen (12. Februar 1869 in Hanau – 18. April 1949 in Berlin) Zu Leben und Werk von Franz Stassen: https://de.wikipedia.org/wiki/Franz_Stassen http://www.germanicmythology.com/works/StassenArtNibelungen.html Ein Beispiel für Jugendstil, aber auch für Reformbewegung, die beide auch als Gegenbewegungen gegen den imperialen Historismus gesehen werden können, ist das Illustrationswerk von Franz Stassen (1869-1949). Er wurde Mitglied im Kreis um Siegfried Wagner, galt sogar als „Kammermaler der Markgrafen von Bayreuth“.1 Außer zu „Parsifal“ schuf er Mappen zum „Ring des Nibelungen“. Stassen war seit 1930 Mitglied in der NSDAP. Für die Reichskanzlei entwarf er vier Wandteppiche mit Motiven aus der Edda. Das Rasse- und Siedlungsamt der SS vermittelte ihm Modelle aus der ,Leibstandarte Adolf Hitler’.2 1939 erhielt er den Titel Professor und wurde noch 1944 in die Künstler- Liste der Gottbegnadeten aufgenommen. Unter seinen zahlreichen Bildern zum Nibelungenthema ragen zwei Illustrations-Zyklen hervor: die Illustrationen zu Rudolf Herzogs Jugendbuch „Siegfried der Held“ (1912, 2. Aufl. 1920) und zu Hans von Wolzogens Nacherzählung „Der Nibelungen Not“ (1920). Bei der Darstellung Siegfrieds etwa orientierte er sich an einem ‚arischen‘ Typus.3 [GG, Mai 2020] 1 Jordi Mota / María Infiesta: Das Werk Richard Wagners im Spiegel der Kunst. Tübingen 1995, S. 285f. 2 Ebd., S. 175. 3 Ebd., S. 224 Anm. 78. 2 1 2 3 [1] Franz Stassen: Siegfried badet im Blut des Drachen, Illustration (1912) [2] Franz Stassen: Siegfried badet im Blut des Drachen, Illustration (1920) [3] Franz Stassen: Siegfried badet im Blut des Drachen, Lithographie (1939) I. Illustrationen zu Rudolf Herzogs Jugendbuch „Siegfried der Held“ (Berlin: Ullstein 1912, 2.
    [Show full text]