Weimar Classicism
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Christoph Martin Wieland - Dichter Und Kanzleiverwalter in Biberach (1760-1769)"
Von Dr. Yvonne Häfner, Biberach Dauerausstellung im Wieland-Gartenhaus Biberach „Christoph Martin Wieland - Dichter und Kanzleiverwalter in Biberach (1760-1769)" In dokumentarischer Form beherbergt das Wieland 2. Thematische Schwerpunkte der Gartenhaus an der Saudengasse 10/1 in Biberach seit neuen Ausstellung dem 12. September 2009 eine Dauerausstellung zum Thema„Christoph Martin Wieland - Dichter und Kanz Am 30. März 1769 teilt Christoph Martin Wieland leiverwalter in Biberach (1760-1769)".1 Möglicherwei• dem Evangelischen Magistrat in Biberach brieflich mit, se schon im Herbst 1765, spätestens aber seit Sommer dass ihm vom Kurfürsten und Erzbischof von Mainz die 1766 hat sich Wieland außerhalb der damaligen Stadt doppelte Stelle eines Regierungsrats und eines Profes mauern ein kleines Gartenhaus gemietet. Hier fand er sors der Philosophie in Erfurt angetragen worden sei: in Mußestunden die notwendige Ruhe, um sich ganz Diesem „mit dem Finger der göttlichen Providenz so seinen literarischen Vorhaben widmen zu können.Ziel sonderbahr bezeichneten Ruf" 5 könne er sich - schreibt der neuen Ausstellung im Wieland-Gartenhaus ist es, Wieland - unmöglich entziehen. Zwei Tage nach Pfings den Besuchern die Bedeutung dieses Ortes - gleich ten desselben Jahres 17 69 macht sich Wieland auf den sam den„Genius Iod" - in Erinnerung zu rufen und Weg. Auf seiner Reise über Augsburg, Nürnberg, Erlan Interesse für Wielands dichterische und berufliche gen, Coburg, Frauenwalde, Illmenau und Arnstadt nach Tätigkeit während seiner Biberacher Jahre zu -
Die Frankfurter Messe
750 Jahre Messen in Frankfurt Die Frankfurter Messe Besucher und Bewunderer Literarische Zeugnisse aus ihren ersten acht Jahrhunderten Herausgegeben von Johannes Fried mit einem Essay von Hartmut Boockmann Umschau Verlag • Frankfurt am Main Inhaltsverzeichnis Nr. Seite XI Zur Einführung. Die Frankfurter Messe im Spiegel des Zitats, von Johannes Fried 1 1 Rabbi Eliezer ben Nathan (um 1090- um 1170) 2 2 Kaiser Friedrich I. Barbarossa hebt die Unrechten Mainzölle auf. Worms 6. April 1157 3 3 Kaiser Friedrich II. verleiht allen Besuchern der Messe seinen Schutz. Ascoli 11. Juli 1240 4 5 Privileg Ludwigs des Bayern (1330) 5 7 Spielleute auf der Frankfurter Messe (1348) 6 9 Ein Latein-Schüler (um 1370) 7 10 Der Kölner Rat an den Wirt des Hauses „Brüssel" in Frankfurt (1397) 8 1 1 Beschlüsse des Kölner Rates (1410/1412) 9 14 Hildebrandt und Sievert Veckinchusen (um 1370- 1426/33) 10 16 Pero Tafur (um 1420-1484) 11 17 Schreiben des Rates der Stadt Barcelona an den Frankfurter Rat (1445) 12 19 Gilles le Bouvier (um 1386- nach 1454) 13 20 Enea Silvio Piccolomini (1405-1464) 14 21 Heinrich III. Landgraf von Hessen (1441-1483) 15 23 Martin Behaim (um 1459-1507) 16 26 Buchzensur auf der Frankfurter Messe (ab 1485) 17 29 Briefe der Familie Amerbach 18 33 Anton Koberger (1440-1513) 19 35 Albrecht Dürer (1471-1528) 20 38 Veit Stoss (um 1445/1447-1533) 21 39 Johannes Cochläus (1479-1552) 22 41 Till Eulenspiegel (um 1300-1350) 23 44 Willibald Pirckheimer (1470-1530) 24 45 Peter Schöffer d.J. (um 1480-1547) 25 46 Erasmus von Rotterdam (1466-1536) 26 48 Martin Luther (1483-1546) 27 53 Matthias Grünewald (um 1480-1531/32) 28 54 Johannes Pauli (ca. -
Positionings of Jewish Self
“SCHREIBEN WAS HIER WAR” BEYOND THE HOLOCAUST-PARADIGM: (RE)POSITIONINGS OF JEWISH SELF-IDENTITY IN GERMAN-JEWISH NARRATIVES PAST AND PRESENT by Martina Wells B.A equivalent, English and History, University of Mainz, Germany 1985 M.A., German Studies, University of Pittsburgh, 2008 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts & Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2015 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS & SCIENCES This dissertation was presented by Martina Wells It was defended on March 31, 2015 and approved by Randall Halle, Klaus W. Jonas Professor of German Film and Cultural Studies, Department of German John B. Lyon, Associate Professor, Department of German Lina Insana, Associate Professor, Department of French & Italian Languages and Literatures Dissertation Advisor: Sabine von Dirke, Associate Professor, Department of German ii Copyright © by Martina Wells 2015 iii “SCHREIBEN WAS HIER WAR” BEYOND THE HOLOCAUST-PARADIGM: (RE)POSITIONINGS OF JEWISH SELF-IDENTITY IN GERMAN-JEWISH NARRATIVES PAST AND PRESENT Martina Wells, PhD University of Pittsburgh, 2015 This dissertation examines the stakes of self-Orientalizing in literary and cinematographic texts of German-Jewish cultural producers in the context of Jewish emancipation and modernization. Positing Jewish emancipation as a trans-historical and cultural process, my study traces the poetic journey of a particular set of Orientalist tropes from 19th century ghetto stories to contemporary writings and film at the turn of the millennium to address a twofold question: what could this problematic method of representation accomplish for Germany’s Jewish minority in the past, and how do we understand its re-appropriation by Germany’s “new Jewry” today. -
Sophie Von La Roche
Sophie von La Roche Sophie von La Roche. German novelist. Wikipedia. Sophie-von-la-roche-scan.jpg 1,674 × 2,205; 1.77 MB. LaRocheMS.jpg 463 × 540; 86 KB. Sophie von La Roche - Georg Oswald May 1778.jpg 584 × 679; 160 KB. Sophie von La Roche portrait.jpg 400 × 500; 79 KB. LaRoche.jpg 1,233 × 2,083; 2.26 MB. Assing Sophie von La Roche 1859.pdf 1,275 × 1,650, 393 pages; 8.71 MB. BrentanoFamilienbild.jpg 492 × 331; 44 KB. Büsingpark stele.jpg 1,417 × 1,890; 2.53 MB. Fanny und Julia (Penzel).jpg 947 × 1,457; 1.58 MB. Geschichte des Fräuleins von Sternheim.png 690 × 1,262; 174 KB. Kaufbeuren, Ludwigstrasse 2 03.JPG 2,736 × 3,648; 3.42 MB. La Roche Geschichte von Miß Sophie von La Roche, née Sophie Gutermann, (born Dec. 6, 1731, Kaufbeuern, Bavaria [Germany]â”died Feb. She was engaged to her close friend and cousin, the well-known writer Christoph Martin Wieland, but the betrothal was dissolved, and in 1754 she married G.M. Franck von La Roche. She was to become the grandmother of Bettina von Arnim and Clemens Brentano, both associated with the Romantic movement. From 1771 she maintained a literary salon in Ehrenbreitstein to which the young J.W. von Goethe belonged. In that year Wieland edited and published her first novel. Sophie von La Roche, the first recognized and acclaimed woman novelist in Germany, was both a pioneer in the establishment of an independent women's literary public and a conservative monarchist oppos Read more. -
Jiddistik Heute
לקט ייִ דישע שטודיעס הנט Jiddistik heute Yiddish Studies Today לקט Der vorliegende Sammelband eröffnet eine neue Reihe wissenschaftli- cher Studien zur Jiddistik sowie philolo- gischer Editionen und Studienausgaben jiddischer Literatur. Jiddisch, Englisch und Deutsch stehen als Publikationsspra- chen gleichberechtigt nebeneinander. Leket erscheint anlässlich des xv. Sym posiums für Jiddische Studien in Deutschland, ein im Jahre 1998 von Erika Timm und Marion Aptroot als für das in Deutschland noch junge Fach Jiddistik und dessen interdisziplinären אָ רשונג אויסגאַבעס און ייִדיש אויסגאַבעס און אָ רשונג Umfeld ins Leben gerufenes Forum. Die im Band versammelten 32 Essays zur jiddischen Literatur-, Sprach- und Kul- turwissenschaft von Autoren aus Europa, den usa, Kanada und Israel vermitteln ein Bild von der Lebendigkeit und Viel- falt jiddistischer Forschung heute. Yiddish & Research Editions ISBN 978-3-943460-09-4 Jiddistik Jiddistik & Forschung Edition 9 783943 460094 ִיידיש ַאויסגאבעס און ָ ארשונג Jiddistik Edition & Forschung Yiddish Editions & Research Herausgegeben von Marion Aptroot, Efrat Gal-Ed, Roland Gruschka und Simon Neuberg Band 1 לקט ִיידישע שטודיעס ַהנט Jiddistik heute Yiddish Studies Today Herausgegeben von Marion Aptroot, Efrat Gal-Ed, Roland Gruschka und Simon Neuberg Yidish : oysgabes un forshung Jiddistik : Edition & Forschung Yiddish : Editions & Research Herausgegeben von Marion Aptroot, Efrat Gal-Ed, Roland Gruschka und Simon Neuberg Band 1 Leket : yidishe shtudyes haynt Leket : Jiddistik heute Leket : Yiddish Studies Today Bibliografijische Information Der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deut- schen Nationalbibliografijie ; detaillierte bibliografijische Daten sind im Internet über http://dnb.d-nb.de abrufbar. © düsseldorf university press, Düsseldorf 2012 Alle Rechte vorbehalten. Das Werk einschließlich aller seiner Teile ist urhe- berrechtlich geschützt. -
Schiller's Egmont and the Beginnings of Weimar Classicism*
Steffan Davies Schiller’s Egmont and the Beginnings of Weimar Classicism* This essay examines Schiller’s stage version of Goethe’s Egmont, which was performed in Weimar in April 1796 and which Schiller described as “gewissermaasen Göthens und mein gemeinschaftliches Werk”. Beginning with his review of Egmont in 1788 the essay demonstrates some of the principles on which Schiller amended the text, and then shows that these match changes in Goethe’s own writing by the mid-1790s. On this basis it evalu- ates the correspondence between Goethe and Schiller, and other biographical texts, to reconsider the view that Goethe’s misgivings about the adaptation marked a low-point in their relationship. It argues that Schiller’s work on Egmont instead deserves to be seen as a constructive experience in the development of the Weimar alliance. I. Schiller had spent three weeks in Weimar watching performances by Iffland and his visiting theatre company when he wrote a letter to Körner on 10 April 1796. His aim: to persuade Körner to join him for Iffland’s last performance, Goethe’s Egmont, which he had adapted for the stage. He sounds happy with his stay and with his work, describing the new Egmont as “gewissermaasen Göthens und mein gemeinschaftliches Werk” (NA 28. 210–211). Goethe, Schiller and Iffland – surely Körner would not want to miss experiencing such a combination of talents.1 * Schiller’s texts are quoted from Schillers Werke. Nationalausgabe. Ed. by Julius Petersen, Gerhard Fricke et al. Weimar: Hermann Böhlaus Nachf. 1943ff. Quotations are identified by NA with volume and page numbers. -
The Enlightenment Novel As Artifact
4 The Enlightenment Novel as Artifact J. H. Campe’s Robinson der Jüngere and C. M. Wieland’s Der goldne Spiegel How did German authors respond to the widespread perception of literature as a luxury good and reading as a form of consumption? Or, to use a more mod- ern idiom, how did German literature around 1800 respond to its own commodi- fi cation? The question is not new to scholars of German culture; nonetheless, the topic deserves further attention. 1 The idea of literature as a potentially pernicious form of luxury posed a serious challenge to writers in this period, a challenge that not only infl uenced conceptions of the book as artifact and of the impact of read- ing, but also shaped the narrative structure and rhetorical features of the literary works themselves. Previous analyses of the subject have tended to be either too broad or too restric- tive in their approach. Too broad in the sense that they have addressed general con- cerns, such as the rise of the middle class or the dehumanizing impact of modern capitalism rather than the way in which evolving, complex, and often confl icted 1. Daniel Purdy addresses the topic in his insightful treatment of neoclassicism (Weimar classi- cism), and it has also been dealt with in some recent and not so recent genealogies of aesthetic auton- omy and of what is known in German as Trivialliteratur. See Purdy, The Tyranny of Elegance: Consumer Capitalism in the Era of Goethe (Baltimore: Johns Hopkins University Press, 1998), esp. 28–34; Martha Woodmansee, The Author, Art, and the Market: Rereading the History of Aesthetics (New York: Colum- bia University Press, 1994); and Jochen Schulte-Sasse, Der Kritik der Trivialliteratur seit der Aufklärung (Munich: Wilhelm Fink Verlag, 1971). -
Article “On the Mysteries of the Egyptians” (“Ueber Die Mysterien Der Aegyptier”) of 1784
© Bildarchiv Preußischer Kulturbesitz Johann Christoph Friedrich von Schiller, oil painting by Gerhard von Kügelgen, 1808–1809. Original: Freies Deutsches Hochstift, Frankfurt am Main. Schiller’s philosophy of moral education, an integral part of Weimar Classicism and devel- oped most fully in On the Aesthetic Education of Man in a Series of Letters (1795), is a productive eighteenth-century lens through which to view the ideas of moral progression found in The Magic Flute. Photograph by Lutz Braun. From Arcadia to Elysium in The Magic Flute and Weimar Classicism The Plan of Salvation and Eighteenth-Century Views of Moral Progression John B. Fowles The painful sighs are now past. Elysium’s joyful banquets Drown the slightest moan— Elysium’s life is Eternal rapture, eternal flight; Through laughing meadows a brook pipes its tune. Here faithful couples embrace each other, Kiss on the velvet green sward As the soothing west wind caresses them; Here love is crowned, Safe from death’s merciless blow It celebrates an eternal wedding feast. ₁ —Friedrich Schiller resumably, many people gloss over the aphorism that life is a journey— ₂ Pindeed, for Latter-day Saints, an “eternal journey” —as cliché. But this aphorism encapsulates profound theological, philosophical, moral, and even teleological implications that should indeed interest most people. The journey metaphor connotes progress and ascension, indicating beginning, purpose, and end to mortal existence. True, moving linearly from point A to point B—metaphorically ascending a ladder or climbing a steep moun- ₃ tain —fittingly illustrates the progress inherent in this eternal journey. But a cyclical understanding of this progression—spiraling upward from one state of being to another—also captures and perhaps even enriches the sense of mankind’s journey. -
Corporeal Expression and the Paradox of Acting in the German Theater Discourse Around 1800
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Carolina Digital Repository STAGING SPONTANEITY: CORPOREAL EXPRESSION AND THE PARADOX OF ACTING IN THE GERMAN THEATER DISCOURSE AROUND 1800 Matthew West Feminella A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department Germanic and Slavic Languages and Literatures (German). Chapel Hill 2016 Approved by: Clayton Koelb Eric Downing Jonathan Hess Gabriel Trop Inga Pollmann © 2016 Matthew West Feminella ALL RIGHTS RESERVED ii ABSTRACT MATTHEW WEST FEMINELLA: Staging Spontaneity: Corporeal Expression and the Paradox of Acting in the German Theater Discourse Around 1800 (Under the direction of Clayton Koelb) This dissertation explores how theories of spontaneity and the body are integrated into acting discourses on the German stage. I argue that the spontaneity of the human body represents a recurring feature in the acting discourses around 1800, which provoked a variety of responses from theorists of the theaters. These responses range from theorizing how to utilize corporeal spontaneity for the benefit of the theater to how to diminish its potential inimical effects on dramatic production. Theorizing about actors and spontaneity led these thinkers to re-conceptualize their notions of anthropology, semiotics, media, and human agency. Chapter 1 examines how Gotthold Ephraim Lessing in his correspondences and dramaturgical writings develops acting techniques that seek to reconcile intentionality and spontaneity: actors create mental images of bodies through poetic language that in turn are integrated into their own affective and bodily motions, thus artificially producing the impression of spontaneous natural action on stage. -
Schiller and Music COLLEGE of ARTS and SCIENCES Imunci Germanic and Slavic Languages and Literatures
Schiller and Music COLLEGE OF ARTS AND SCIENCES ImUNCI Germanic and Slavic Languages and Literatures From 1949 to 2004, UNC Press and the UNC Department of Germanic & Slavic Languages and Literatures published the UNC Studies in the Germanic Languages and Literatures series. Monographs, anthologies, and critical editions in the series covered an array of topics including medieval and modern literature, theater, linguistics, philology, onomastics, and the history of ideas. Through the generous support of the National Endowment for the Humanities and the Andrew W. Mellon Foundation, books in the series have been reissued in new paperback and open access digital editions. For a complete list of books visit www.uncpress.org. Schiller and Music r.m. longyear UNC Studies in the Germanic Languages and Literatures Number 54 Copyright © 1966 This work is licensed under a Creative Commons cc by-nc-nd license. To view a copy of the license, visit http://creativecommons. org/licenses. Suggested citation: Longyear, R. M. Schiller and Music. Chapel Hill: University of North Carolina Press, 1966. doi: https://doi.org/ 10.5149/9781469657820_Longyear Library of Congress Cataloging-in-Publication Data Names: Longyear, R. M. Title: Schiller and music / by R. M. Longyear. Other titles: University of North Carolina Studies in the Germanic Languages and Literatures ; no. 54. Description: Chapel Hill : University of North Carolina Press, [1966] Series: University of North Carolina Studies in the Germanic Languages and Literatures. | Includes bibliographical references. Identifiers: lccn 66064498 | isbn 978-1-4696-5781-3 (pbk: alk. paper) | isbn 978-1-4696-5782-0 (ebook) Subjects: Schiller, Friedrich, 1759-1805 — Criticism and interpretation. -
Durham E-Theses
Durham E-Theses Grillparzer's adoption and adaptation of the philosophy and vocabulary of Weimar classicism Roe, Ian Frank How to cite: Roe, Ian Frank (1978) Grillparzer's adoption and adaptation of the philosophy and vocabulary of Weimar classicism, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/7954/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Summary After a summary of German Classicism and of Grillparzer's at times confusing references to it, the main body of the thesis aims to assess Grillparzer's use of the philosophy and vocahulary of Classicism, with particular reference to his ethical, social and political ideas, Grillparzer's earliest work, including Blanka, leans heavily on Goethe and Schiller, but such plagiarism is avoided after 1810. Following the success of Ahnfrau, however, Grillparzer returns to a much more widespread use of Classical themes, motifs and vocabulary, especially in Sappho, Grillparzer's mood in the period 1816-21 was one of introversion and pessimism, and there is an emphasis on the vocabulary of quiet peace and withdrawal. -
Ich Will Keinem Mann Nachtreten. Sophie Von La Roche Und Bettine
Ich will keinem Mann nachtreten. Einleitende Überlegungen Sophie von La Roche hat in der Literaturgeschichte drei Orte: Sie ist die Freundin Christoph Martin Wielands1, sie ist die „Großmutter der Brentanos“2 und sie ist die erste deutsche Frauenschriftstellerin. Alle drei Zuordnungen sind wichtig und beschreiben je eine Facette von Sophie von La Roches Schrift- stellerinnenleben, sie stellen aber jeweils einen Aspekt in den Fokus und verein- fachen damit nicht nur, sondern entwickeln zugleich eine Hierarchie, die La Roches Schreiben immer nur als zweitrangiges Phänomen sieht. Bettine von Arnim lässt sich weitaus schwieriger kategorisieren und dennoch hat es auch in ihrem Fall Einschreibungen ins kollektive Gedächtnis gegeben, die ihrem Werk nicht gerecht werden. Sie wird gerne als Vorzeigeromantikerin angesehen, da diese literaturgeschichtliche Verortung das Zusammendenken der Heterogenität ihres Werkes scheinbar anbietet.3 Wie leicht und unreflektiert sich literaturge- schichtliche Wertungen tradieren, zeigt eine Einschätzung von Joseph von Eichendorff im Rahmen seiner Abhandlung Der deutsche Roman (1851), die als Stimmungsbild aus der Mitte des 19. Jahrhunderts gelesen werden kann: Seltsam, während die Laroche die geistige Ahnfrau jener süßlichen Frauenge- schichten geworden, ist sie, wie zur Buße, zugleich die leibliche Großmutter eines völlig andern genialen Geschlechts, und nimmt sich dabei wie eine Henne aus, die unverhofft Schwäne ausgebrütet hat, und nun verwundert und ängstlich das ihr ganz 4 fremde Element umkreist, auf welchem diese sich wiegen und zu Hause sind. Das Bild der Großmutter-Enkel-Beziehung hat er damit entscheidend geprägt. In kaum einem literaturwissenschaftlichen Beitrag zu diesem Generationenver- hältnis fehlt dieses Zitat.5 Dass hingegen auch die Enkelin Bettine von Arnim in 1 Ludmilla Assing: Sophie von La Roche, die Freundin Wieland’s.