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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 . -
“On Translating Thomas Mann. Edited with an Introduction and Commentary by Henry I. Mac Adam
SCRIPTA JUDAICA CRACOVIENSIA * Vol. 7 Kraków 2009 Edith Simon “ON TRANSLATING THOMAS MANN” Edited with an Introduction and Commentary by Henry I. MacAdam After all, every translator knows that translating is a sort of trick, a device like the sleight-of-hand operator’s to attract attention to something in order to distract it from something else. Lowe-Porter 1966, 196. Without her [Lowe-Porter’s] translations, the name of Tho- mas Mann might well be as little known to the English- speaking world as that of his brother Heinrich. Thirlwall 1966, vi. Introduction Among the literary papers of the late Edith Simon (1917–2003) is a typescript essay entitled “On Translating Thomas Mann.” Internal evidence suggests that it was written in the late 1960s, approximately 40 years after Mann’s monumental Der Zauberberg (1924) was translated into English as The Magic Mountain (1928) by Helen Tracy Lowe-Porter. Simon’s essay is critical of the quality of Lowe-Porter’s translation of The Magic Mountain and is full of suggested re-translations as well as a closer look at several images embedded in German culture, e.g. language; literature, mytho- logy/folklore – that Mann drew upon for “special effects” in the epic novel that ensured his nomination for and acceptance of the Nobel Prize for Literature in 1929 (the politicized head of the Nobel Committee cited Buddenbrooks as the reason for the award). Simon wrote her essay at a time when Lowe-Porter’s rendition of Mann’s major works was still garnering plaudits from reviewers. That essay by Simon, published here for the first time, and another shorter essay on writing historical fiction, are part of her creative legacy now archived within her art studio in Edinburgh, Scotland. -
Early Faust Literature and Skepticism in the Reformation
Dustin Lovett 20 Polemical Magic: Early Faust Literature and Skepticism in the Reformation Dustin Lovett (University of California, Santa Barbara) Richard Popkin’s epochal work on the history of skepticism in the Early Modern period1 identifies the seminal gesture of the Reformation, Luther’s rejection of the Catholic church’s entire framework of authority at the Diet of Worms, as the opening of a “Pandora’s Box” that sparked a skeptical crisis, or “crise pyrrhonienne,” which soon engulfed the Western world (5). Popkin’s narrow understanding of the term skepticism and his emphasis on the role of the printed Latin translations of Sextus Empiricus’s work in the 1560s in the birth of modern science have become controversial, but whether one adopts Popkin’s view of an acute crisis in the sixteenth and seventeenth centuries or takes a longer and broader view of skepticism,2 the Reformation marks a moment of profound transformation in the history of European thought. As Stuart Clark notes, the temptation “to think of the [Early Modern] period as one of radical epistemological instability” does not exist without reason (1997, 257). In rejecting the authority of the pope and church councils, which had previously arbitrated the nature of truth, in favor of “what conscience is compelled to believe on reading Scripture” (Popkin 3) Luther was redefining the criteria for religious orthodoxy. For centuries, the Catholic church alone had defined the nature of and means of achieving theological principles such as grace or repentance. The spiritual confusion that resulted from Luther’s repudiation of numerous Catholic doctrines finds its reflection in many literary works of the time but perhaps nowhere more potently than in the legend of Faust, which emerged and developed in the early Reformation era into a vehicle for Luther’s radical skepticism toward Catholic doctrines ranging from intercession and repentance to the saints’ cults and miracles. -
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. -
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. -
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. -
Discoveries from the Fleisher Collection Listen to WRTI 90.1 FM Philadelphia Or Online at Wrti.Org
Listen to Discoveries from the Fleisher Collection Listen to WRTI 90.1 FM Philadelphia or online at wrti.org. Encore presentations of Discoveries every Wednesday at 7:00 p.m. on WRTI-HD2 Saturday, April 5th, 2008, 5:00-6:00 p.m. • Louis Spohr (1784-1859). Symphony No. 4 in F, Op 86 “The Consecration of Sound” (1832). Budapest Symphony Orchestra, Alfred Walter. Marco Polo 8.223122. 38:49 • Spohr. Overture to Faust, Op. 60 (1813/23). Budapest Symphony Orchestra, Alfred Walter. Marco Polo 8.223122. 7:35 An experimental composer, the first conductor to use a baton, and the inventor of the violin chin-rest (someone had to invent it!) was Louis Spohr. His program music was considered avant-garde in the 1830s, and many considered him the most important German composer between Beethoven and Brahms. The New York Philharmonic, at its founding in 1843, stated that its mission was to be an American orchestra that could play the music of Mozart, Beethoven, Haydn, and Spohr. He was the leading conductor of his day, an unparalleled orchestrator, and one of the top violin soloists on the continent. His legacy includes 15 violin concertos, 35 string quartets, 10 symphonies, four clarinet concertos, 90 lieder, dozens of operas, and a school of violin performance reaching well into the 20th century. We don’t hear his music today with nearly the same frequency that mid-19th-century audiences did, but it’s worth considering what the attraction might have been. He titled his fourth symphony—the most popular of his symphonies during his lifetime—Die Weihe der Töne (“The Consecration of Sound”). -
Gunter E. Grimm
GUNTER E. GRIMM Faust-Opern Eine Skizze Vorblatt Publikation Erstpublikation Autor Prof. Dr. Gunter E. Grimm Universität Duisburg-Essen Fachbereich Geisteswissenschaften, Germanistik Lotharstr. 65 47057 Duisburg Emailadresse: [email protected] Homepage: <http://www.uni-duisburg-essen.de/germanistik/mitarbeiterdaten.php?pid=799> Empfohlene Zitierweise Beim Zitieren empfehlen wir hinter den Titel das Datum der Einstellung oder des letzten Updates und nach der URL-Angabe das Datum Ihres letzten Besuchs die- ser Online-Adresse anzugeben: Gunter E. Grimm: Faust Opern. Eine Skizze. In: Goethezeitportal. URL: http://www.goethezeitportal.de/fileadmin/PDF/db/wiss/goethe/faust-musikalisch_grimm.pdf GUNTER E. GRIMM: Faust-Opern. Eine Skizze. S. 2 von 20 Gunter E. Grimm Faust-Opern Eine Skizze Das Faust-Thema stellt ein hervorragendes Beispiel dar, wie ein Stoff, der den dominanten Normen seines Entstehungszeitalters entspricht, bei seiner Wande- rung durch verschiedene Epochen sich den jeweils herrschenden mentalen Para- digmen anpasst. Dabei verändert der ursprüngliche Stoff sowohl seinen Charakter als auch seine Aussage. Schaubild der Faust-Opern Die „Historia von Dr. Faust“ von 1587 entspricht ganz dem christlichen Geist der Epoche. Doktor Faust gilt als Inbegriff eines hybriden Gelehrten, der über das dem Menschen zugestandene Maß an Gelehrsamkeit und Erkenntnis hinausstrebt und zu diesem Zweck einen Pakt mit dem Teufel abschließt. Er wollte, wie es im Volksbuch heißt, „alle Gründ am Himmel vnd Erden erforschen / dann sein Für- GUNTER E. GRIMM: Faust-Opern. Eine Skizze. S. 3 von 20 witz / Freyheit vnd Leichtfertigkeit stache vnnd reitzte jhn also / daß er auff eine zeit etliche zäuberische vocabula / figuras / characteres vnd coniurationes / damit er den Teufel vor sich möchte fordern / ins Werck zusetzen / vnd zu probiern jm fürname.”1 Die „Historia“ mit ihrem schrecklichen Ende stellte eine dezidierte Warnung an diejenigen dar, die sich frevelhaft über die Religion erhoben. -
A Discussion of Goethe's Faust Part 1 Rafael Sordili, Concordia University
Sordili: Nothingness on the Move Sordili 1 Nothingness on the Move: A Discussion of Goethe's Faust Part 1 Rafael Sordili, Concordia University (Editor's note: Rafael Sordili's paper was selected for publication in the 2013 Agora because it was one of the best three presented at the ACTC Student Conference at Shimer College in Chicago in March 2013.) In the world inhabited by Faust, movement is a metaphysical fact: it is an expression of divine will over creation. There are, however, negative consequences to an existence governed by motion. The most prevalent of them is a feeling of nothingness and nihilism. This essay will discuss the relations between movement and such feelings in Goethe's Faust.1 It is my thesis that the assertion of his will to life, the acceptance of his own limitations, and the creation of new personal values are the tools that will ultimately enable Faust to escape nihilism. Metaphysics of Motion Faust lives in a world in which motion is the main force behind existence. During the Prologue in Heaven, three archangels give speeches in praise of the Creator, emphasizing how the world is in a constant state of movement. Raphael states that the movement of the Sun is a form of worship: "The sun proclaims its old devotion / [. .] / and still completes in thunderous motion / the circuits of its destined years" (246-248). For Gabriel, the rotation of the earth brings movement to all the elements upon its surface: "High cliffs stand deep in ocean weather, / wide foaming waves flood out and in, / and cliffs and seas rush on together / caught in the globe's unceasing spin" (251-258). -
110273-74 Bk Boito EC 02/06/2003 09:04 Page 12
110273-74 bk Boito EC 02/06/2003 09:04 Page 12 Great Opera Recordings ADD 8.110273-74 Also available: 2 CDs BOITO Mefistofele Nazzareno de Angelis Mafalda Favero Antonio Melandri Giannina Arangi-Lombardi Chorus and Orchestra of La Scala, Milan 8.110117-18 Lorenzo Molajoli Recorded in 1931 8.110273-74 12 110273-74 bk Boito EC 02/06/2003 09:04 Page 2 Ward Marston Great Opera Recordings In 1997 Ward Marston was nominated for the Best Historical Album Grammy Award for his production work on BMG’s Fritz Kreisler collection. According to the Chicago Tribune, Marston’s name is ‘synonymous with tender loving care to collectors of historical CDs’. Opera News calls his work ‘revelatory’, and Fanfare deems him Arrigo ‘miraculous’. In 1996 Ward Marston received the Gramophone award for Historical Vocal Recording of the Year, honouring his production and engineering work on Romophone’s complete recordings of Lucrezia Bori. He also BOITO served as re-recording engineer for the Franklin Mint’s Arturo Toscanini issue and BMG’s Sergey Rachmaninov (1842-1918) recordings, both winners of the Best Historical Album Grammy. Born blind in 1952, Ward Marston has amassed tens of thousands of opera classical records over the past four decades. Following a stint in radio while a student at Williams College, he became well-known as a reissue producer in 1979, when he restored the earliest known stereo recording made by the Bell Telephone Laboratories in 1932. Mefistofele In the past, Ward Marston has produced records for a number of major and specialist record companies. -
On the Occasion of His Fifth Solo Exhibition at Galerie Buchholz, Artist Julian Göthe Presents a New Group of Sculptures and Works on Paper
Finding the radical illusion or “la chasse magique” On the occasion of his fifth solo exhibition at Galerie Buchholz, artist Julian Göthe presents a new group of sculptures and works on paper. The currents that must have inspired these works are as hard to intercept as they are impossible to list. “A lion made of assimilated sheep”, this is perhaps how Paul Valéry would call Göthe's oevre, having delicately fed on and digested so many inspirational references. Only clue that the artist provides is in the exhibition's title, which is also the title of a song by British musician Colin Newman – Their Terrain is track number one on the album Commercial Suicide, 1986. The last verse reads: After this, what next could be a question? Build the megalith again As for history we may be on a winner Or the chorus, it's a shame The parodic charge of Göthe's work finds here another fortunate momentum, a distinctly sardonic laughter permeates the rooms: objects become strange, undefinable “attractors.” It is with them that Göthe touches the limit of his aesthetic adventure – which is also the end of the adventure of representation. Göthe's megaliths actually resemble a Saint Laurent bow-tie; the twin sculptures could almost be a tart refraction of a Giorgio De Chirico sketch for the Faust (I'm thinking in particular of a drawing where Mephistopheles is portrayed as wearing a blond wig, and an explosive set of ostrich feathers seems to have set his hat on fire). The practice of the DeChirichian transvestment can be related to Göthe's also for its dissimulatingly serious aspect.