The Inner Tragic of the Sturm Und Drang and Its Dramatic Trilogy: Lenz’S Die Soldaten, Schiller’S Die Räuber, and Goethe’S Faust I

Total Page:16

File Type:pdf, Size:1020Kb

The Inner Tragic of the Sturm Und Drang and Its Dramatic Trilogy: Lenz’S Die Soldaten, Schiller’S Die Räuber, and Goethe’S Faust I University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 5-2021 The Inner Tragic of the Sturm und Drang and its Dramatic Trilogy: Lenz’s Die Soldaten, Schiller’s Die Räuber, and Goethe’s Faust I Charles Brown University of Tennessee, Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the German Language and Literature Commons Recommended Citation Brown, Charles, "The Inner Tragic of the Sturm und Drang and its Dramatic Trilogy: Lenz’s Die Soldaten, Schiller’s Die Räuber, and Goethe’s Faust I. " PhD diss., University of Tennessee, 2021. https://trace.tennessee.edu/utk_graddiss/6623 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Charles Brown entitled "The Inner Tragic of the Sturm und Drang and its Dramatic Trilogy: Lenz’s Die Soldaten, Schiller’s Die Räuber, and Goethe’s Faust I." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in Modern Foreign Languages. Adrian Del Caro, Major Professor We have read this dissertation and recommend its acceptance: Maria Stehle, Sarah Eldridge, Allen R. Dunn Accepted for the Council: Dixie L. Thompson Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) The Inner Tragic of the Sturm und Drang and its Dramatic Trilogy: Lenz’s Die Soldaten, Schiller’s Die Räuber, and Goethe’s Faust I A Dissertation Presented for the Doctor of Philosophy Degree The University of Tennessee, Knoxville Charles Joseph Brown May 2021 ACKNOWLEDGEMENTS I would like to express sincere gratitude to my dissertation advisor Dr. Adrian Del Caro and to my committee members Dr. Sarah Eldridge, Dr. Maria Stehle, and Dr. Allen Dunn for accepting this mission and for supporting me at every stage of the process. I would also like to thank Dr. Ohnesorg, Dr. Huth, Dr. Hodges, and Dr. Magilow for their unwavering support throughout my tenure at the University of Tennessee, Knoxville (UTK). The German program and the intellectual atmosphere at UTK is amazing and the professors acknowledged here embody the majesty that underlies the university’s commitment to fairness, integrity, and academic excellence. And to my family – thank you lil b, girl, and boy. ii ABSTRACT My research examines three German dramas – J. M. R. Lenz’s Die Soldaten (1776), Friedrich Schiller’s Die Räuber (1781), and Johann Wolfgang von Goethe’s Faust: eine Tragödie (1808). The three plays exhibit with remarkable parallel a three-phase dramatic structure that serves as the inner framework for a tragic process. This shared inner tragic process is suggestive evidence of an enlightening intertextuality within the purview of the Sturm und Drang. Featuring prominently in this tragic trilogy of the Sturm und Drang is Lenz, the tragic innovator whose template for inner tragic not only influences works of literature in this sequence of plays, but also serves as the transition and point of departure from classical tragedy to the modern notion of the tragic within the philosophical framework of German Idealism. The inner arrangement of tragic elements, the Lenzian inner tragic structure, is composed of 1) a psychological exposition, 2) physical climax , and 3) emotional dénouement. The inner tragic structure captures the tragic process, a series of experiences and events that the protagonists suffer as they prepare for tragic action. The tragic phases of this process are captured respectively by each element of the inner structure as follows: 1) self-shattering, 2) tragic selfhood, and 3) death wish. The individuals experiencing the inner tragic are the literary protagonists who represent three profiles of Menschen in a continuum of ascendency, Mensch (Die Soldaten), Kraftmensch (Die Räuber), and Übermensch (Faust I), respectively. The literary figures who experience this tragic process embody several cultural threads within the greater context of the Enlightenment, Sturm und Drang and early Romanticism in the German-speaking world. My research uncovers an inner structure and an intertextual unity along tragic lines between the three plays in an era known for formlessness and divergence. Moreover, my findings reveal an exceptional Sturm und Drang manifestation of tragic that fills a void between a poetics of tragedy and a philosophy of modern tragic. Foreshadowing several other iii developments in the nineteenth century such as existentialism and depth psychology, the Sturm und Drang inner tragic process delivers timeless wisdom about self-transformation and the efficacy of reason. Keywords: tragic, German drama, Sturm und Drang, self iv TABLE OF CONTENTS INTRODUCTION………………………………………………………….……………………………. 1 Preamble: Lenz’s Sturm und Drang Tragic Project………..……….………………………………... 1 The Lenzian Inner Tragic Structure……………………….………………………………………….. 3 The Three Phases of the Sturm und Drang Inner Tragic Process…………………………………...…9 Lenz and Aristotle: Liberties and Lineages………………………………..........................................14 The Menschheit Continuum: Mensch, Kraftmensch, and Übermensch……………………………... 22 CHAPTER ONE: THE UNDERPININGS OF THE LENZIAN TRAGIC PROJECT, 1700-1773.. 32 The Enlightenment and the Evaluation from Rousseau and Kant ....………………………………... 32 The Sturm und Drang and its Founding Figures, 1759-1772………………….…………………….. 37 The German Theory of Drama in the Eighteenth Century………………………………………..…. 46 Galotti and Götz: Models for Sturm und Drang Drama…...………………………………………….60 Freytag and the Significance of Structure…………………………………………………………….63 CHAPTER TWO: PHASE I OF THE INNER TRAGIC– THE SHATTERED SELF...………….. 69 A Psychological Exposition…………………………………………………………………………. 69 Die Soldaten: Tearing……………………………………………………………………………….. 70 Die Räuber: Trembling……………………………………………………………………………… 78 Faust I: Temptation and Tears.……………………………………………………………………… 90 Chapter Commentary for Phase I: Language, and Theory of Drama……………………………….. 97 CHAPTER THREE: PHASE II OF THE INNER TRAGIC – TRAGIC SELFHOOD ...………...104 A Physical Climax with Moral Implications………………………………………………………...104 Die Soldaten: Batman and Beggar...……...……………………………………………………….. 107 Die Räuber: Power, Freedom, And Worldly Woes………………………………………………….114 Faust I: Tragic Selfhood and the Supernatural...……………...…………………………………….121 Chapter Commentary for Phase II: Margarete’s Transformation...………………………………....127 CHAPTER FOUR: PHASE III OF THE INNER TRAGIC – DEATH WISH ..…………………..130 Combining Dénouement and Catastrophe for an Emotional Resolution……………………………130 Die Soldaten: Foregrounding the Tragic Resolution………………………………………………. 132 Die Räuber: Tragic Voices………………………………………………………………………… 136 Faust I: The Fallen Veil…………………………………………………………………………… 144 Inconsistencies: Tragic and Menschen......…………………………………………………….……145 CHAPTER FIVE: LENZ AS TRANSITION TO THE TRAGIC AND BEYOND……………….. 149 Interlude……………………………………………………………………………………………. 149 v Peter Szondi and The German Philosophie des Tragischen .….…………………………………... 152 August Wilhelm Bohtz’ Schattenseite……………………………………………………………... 156 German Idealism and Existentialism……………………………………………………………….. 157 Tiefenpsychologie……………………………………………………………………………………160 Traces of an Inner Tragic Process in Later Drama: Faust II, Woyzeck, and episches Theater…….. 162 EPILOGUE: THE MORAL OF THE INNER TRAGIC STORY…………………………………..166 The Transition: Shifting from Fiction to Non-Fiction…...…………………………………………. 166 Implications for Sturm und Drang Scholarship .…….………………………………………………166 The Origins of the Inner Tragic Process..……..……………………………………………………. 169 Concluding Statement: The Tragic Moral of the Sturm und Drang for Today…………………….. 170 WORKS CITED……………………………………………………………………………………….. 174 VITA……………………………………………………………………………………………………. 182 vi INTRODUCTION “Lassen Sie mich für die Ausführung dieses Projekts sorgen.” –J. M. R. Lenz, “Über Götz von Berlichingen” Preamble: Lenz’s Sturm und Drang Tragic Project In his speech1 “Über Götz von Berlichingen” (1776), J. M. R. Lenz answers the call made by Johann Wolfgang von Goethe with Götz von Berlichingen (1773), a German drama that serves as a prototypical play of the early Sturm und Drang. Lenz refers to the Sturm und Drang (1759–1786)2 as a project and considers Goethe’s Götz von Berlichingen as a “schönere Vorübung” (“Über Götz von Berlichingen”) and the standard bearer for achieving great drama for the movement known in English as the Storm and Stress. Götz von Berlichingen, Goethe’s “first major drama, [is] a historical play written in emulation of Shakespeare with demonstrative disregard of the classical rules, [that] took Germany by storm in 1773” (Chamberlain 196). Like many Germans taken by storm, Lenz appeared ready to carry Goethe’s momentum forward. A few years later, however, Lenz wrote Die Soldaten (1776), a play quite unlike Goethe’s Götz von Berlichingen and indicative of a turn from the Sturm und Drang drama that Goethe tendered. Instead, Lenz had a project of his own in mind for the era of Sturm und Drang with Die Soldaten. This Lenzian project of the Sturm und Drang,
Recommended publications
  • Chicago Symphony Orchestra
    Pittsburgh Symphony Orchestra 2015-2016 Mellon Grand Classics Season April 1, 2 and 3, 2016 MANFRED MARIA HONECK, CONDUCTOR EMANUEL AX, PIANO / , BOY SOLOIST / , SOPRANO / , BASS THE ALL UNIVERSITY CHOIR CHRISTINE HESTWOOD AND ROBERT PAGE, DIRECTORS / CHILDREN’S CHORUS / , DIRECTOR JOHANNES BRAHMS Concerto No. 2 in B-flat major for Piano and Orchestra, Opus 83 I. Allegro non troppo II. Allegro appassionato III. Andante IV. Allegretto grazioso Mr. Ax Intermission CARL ORFF “Fortuna imperatrix mundi” from Carmina Burana for Chorus and Orchestra LEONARD BERNSTEIN Chichester Psalms for Chorus, Boy Soloist and Orchestra I. Psalm 108, vs. 2 (Maestoso ma energico) — Psalm 100 (Allegro molto) II. Psalm 23 (Andante con moto, ma tranquillo) — Psalm 2, vs. 1-4 (Allegro feroce) — Meno come prima III. Prelude (Sostenuto molto) — Psalm 131 (Peacefully flowing) — Psalm 133, vs. 1 (Lento possibile) boy soloist GIUSEPPE VERDI Overture to La forza del destino GIUSEPPE VERDI “Te Deum” (No. 4) from Quattro Pezzi Sacri April 1-3, 2016, page 2 for Chorus and Orchestra soprano soloist ARRIGO BOITO Prologue to Mefistofele for Bass Solo, Chorus, Children’s Chorus and Orchestra bass soloist April 1-3, 2016, page 1 PROGRAM NOTES BY DR. RICHARD E. RODDA JOHANNES BRAHMS Born 7 May 1833 in Hamburg, Germany; died 3 April 1897 in Vienna, Austria Concerto No. 2 in B-flat major for Piano and Orchestra, Opus 83 (1878, 1881) PREMIERE OF WORK: Budapest, 9 November 1881; Redoutensaal; Orchestra of the National Theater; Alexander Erkel, conductor; Johannes Brahms, soloist PSO PREMIERE: 15 January 1909; Carnegie Music Hall; Emil Paur, conductor and soloist APPROXIMATE DURATION: 50 minutes INSTRUMENTATION: woodwinds in pairs plus piccolo, four horns, two trumpets, timpani and strings In April 1878, Brahms journeyed to Goethe’s “land where the lemon trees bloom” with two friends, the Viennese surgeon Theodor Billroth and the composer Carl Goldmark.
    [Show full text]
  • Timeline / Before 1800 to 1840 / GERMANY
    Timeline / Before 1800 to 1840 / GERMANY Date Country Theme 1700 - 1750s Germany Fine And Applied Arts "Palace Schwetzingen" is bulit and flourised under the Palatine Prince Elector Carl Theodor. The baroque castle complex includes more than 100 sculptures and a "Türkischer Garten" ("Turkish Garden") with a mosque, biult from 1779 to 1791, that makes it the earliest mosque- style in Germany and the largest structure of its kind in a german garden. It was designed by Nicolas de Pigage. However the oriental details are not for religious but for decorative purposes. 1700 - 1750s Germany Cities And Urban Spaces The newly built Palace of Schwetzingen (built on the site of a former palace that actually dates back to 1350) flourishes under the Palatine Prince Elector Karl Theodor. Today a heritage site of great cultural significance, it contains some 100 sculptures and is known for its Türkischer Garten, a garden in the Turkish style with a mosque (constructed 1779–91 and the earliest mosque-style and largest structure of its kind in any German garden), designed by French architect Nicolas de Pigage and with “Oriental” details that are for decorative purposes only. During the 18th and 19th Germany Travelling centuries Travellers from Europe approached the notion of the Near East with dreams of a “holy world” and “treasuries of wisdom”. The European desire for the “Orient” arose partly as a result of the Enlightenment, which since the 1800s had already changed the public psyche, filtering down from the rationalism of intellectuals to the scientification of the public. In addition, the many wars of the period, especially the Napoleonic Wars, produced in the people nostalgia; a desire for distance, the unknown, and the halcyon days of the past.
    [Show full text]
  • Samuel Ramey
    welcome to LOS i\Ilgeles upera http://www.losangelesopera.comlproduction/index.asp?... •• PURCHASE TICKETS • 2003/2004 SEASON LA AMNATION DE FAD T La damnation de Faust The damnation of Faust / Hector Berlioz Nicholas and In French with English Supertitles Ticket Information Alexandra Lucia di Samuel Ramey, Synopsis Lammermoor r-----------.., Program Notes Denyce Graves and Photo Gallery Orfeo ed Euridice Paul Groves star in a spectacular new Recital: production by Achim Ask an Expert Hei-Kyung Hong Forward to a Freyer with Kent Friend Recital: Cecilia Nagano conducting. Bartoli Generously Madama Europe's master Underwritten by: Butterfly theatre artist Achim Freyer matches his New production Die Frau ohne made possible by a Schatten painterly visual imagery with Hector generous gift from Mr. and Mrs. Recital: Dmitri Berlioz's vivid musical imagination in the premiere of Hvorostovsky Milan Panic this new production featuring a cast of more than Le nozze di 100 singers and dancers. The legend of Faust, which Figaro tells the story of the man who sold his soul to the II trovatol'"e Devil, has captivated great imaginations for centuries. Marlowe, Goethe, Gounod, Schumann, Liszt, Mahler and Stravinsky all found inspiration in SEASON G!J1]) the Faust tale, which continues to reverberate in SPONSOR Audt today's modern world. Originally conceived as an oratoriO, Hector Berlioz's dramatic La damnation de Faust is now a mainstay of opera houses around the world. Haunting melodies and startling orchestrations flood the score and illustrate the beWitching tale of Faust's desperate struggle for power, riches, youth and, ultimately, redemption. PRODUCTION DATES: Wednesday September 10, 20036:30 p.m.
    [Show full text]
  • What's Your Status: Exploring Brecht's Idea of HALTUNG Though Keith Johnstone's Status Exercises
    Loyola University Chicago Loyola eCommons Department of Fine & Performing Arts: Faculty Publications and Other Works Faculty Publications Fall 2017 Introduction to "What's Your Status: Exploring Brecht's Idea of HALTUNG though Keith Johnstone's Status Exercises Ann M. Shanahan Loyola University Chicago, [email protected] Follow this and additional works at: https://ecommons.luc.edu/dfpa Part of the Theatre and Performance Studies Commons Recommended Citation Shanahan, Ann M., "Introduction to "What's Your Status: Exploring Brecht's Idea of HALTUNG though Keith Johnstone's Status Exercises" (2017). Department of Fine & Performing Arts: Faculty Publications and Other Works. 19. https://ecommons.luc.edu/dfpa/19 This Article is brought to you for free and open access by the Faculty Publications at Loyola eCommons. It has been accepted for inclusion in Department of Fine & Performing Arts: Faculty Publications and Other Works by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. © Stage Directors and Choreographers Society 2017 ---------SDC JOURNAL PEER-REVIEWED SECTION --------- In the political climate surrounding the 2016 US presidential election and its wake, the plays of Bertolt Brecht are produced in professional and university theatres with renewed energy. Several universities will produce The Threepenny Opera and Mother Courage this season. and Brecht's lesser known plays, such as The Resistible Rise ofArtur o Ui, gain new attention in professional venues for the relevancy of their critique of Hitler's rise to power in Nazi Germany. I have found students in university classes- ranging from production courses to general distribution requirements-fascinated and enlivened when we study Brecht's theories, especially when actively demonstrated through performances of his LehrstiJcke, or "learning-plays; and songs.
    [Show full text]
  • Proquest Dissertations
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, som e thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Artxsr, Ml 48106-1346 USA 800-521-0600 UMI* NOTE TO USERS Page(s) missing in number only; text follows. Page(s) were microfilmed as received. 131,172 This reproduction is the best copy available UMI FRANK WEDEKIND’S FANTASY WORLD: A THEATER OF SEXUALITY DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University Bv Stephanie E.
    [Show full text]
  • German Literature/Ecology Charlotte Melin Department of German, Scandinavian and Dutch University of Minnesota-Twin Cities
    Beyond the “Two Cultures Model”: German Literature/Ecology Charlotte Melin Department of German, Scandinavian and Dutch University of Minnesota-Twin Cities The Case for German + Sustainability Studies Readings Forum Discussions Global Connections On-line “Literary intellectuals at the one pole—at the other scientists . .” Each week students participate in a discussion blog written in Links from the course website facilitate exploration of —C. P. Snow, The Two Cultures (1959) German. The topics ask students to connect the assigned readings international connections through supplementary readings, with other aspects of their learning and experience. Students who video, and audio materials. Students have opportunities to “. language is understood as an essential element of have engaged in study abroad add contrastive perspectives. critically evaluate the reliability of websites, use on-line a human being’s thought processes, perceptions, and reference sources, and encounter dialectical variations in self-expressions; and as such it is considered to be at the Sample questions: spoken German. core of translingual and transcultural competence. Language is a complex multifunctional phenomenon that links an individual to other individuals, to communities, and Kaminer uses descriptions of photographs at the beginning to national cultures.” of his work to contrast the relationship to nature of —MLA Ad Hoc Committee on Foreign Languages (2007) generations in and past and people today. Select two photographs that show the relationship between man and “Germany is global leader in exports of environmental protection nature and describe them in German. products” —Umweltbundesamt/The Federal Environmental Agency Compare the understanding of environmental issues in (2008) Pfisters Muehle with the situation today.
    [Show full text]
  • The Cultural Memory of German Victimhood in Post-1990 Popular German Literature and Television
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Digital Commons@Wayne State University Wayne State University Wayne State University Dissertations 1-1-2010 The ulturC al Memory Of German Victimhood In Post-1990 Popular German Literature And Television Pauline Ebert Wayne State University Follow this and additional works at: http://digitalcommons.wayne.edu/oa_dissertations Part of the European History Commons, European Languages and Societies Commons, and the German Literature Commons Recommended Citation Ebert, Pauline, "The ulturC al Memory Of German Victimhood In Post-1990 Popular German Literature And Television" (2010). Wayne State University Dissertations. Paper 12. This Open Access Dissertation is brought to you for free and open access by DigitalCommons@WayneState. It has been accepted for inclusion in Wayne State University Dissertations by an authorized administrator of DigitalCommons@WayneState. THE CULTURAL MEMORY OF GERMAN VICTIMHOOD IN POST-1990 POPULAR GERMAN LITERATURE AND TELEVISION by ANJA PAULINE EBERT DISSERTATION Submitted to the Graduate School of Wayne State University, Detroit, Michigan in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY 2010 MAJOR: MODERN LANGUAGES Approved by: ________________________________________ Advisor Date ________________________________________ ________________________________________ ________________________________________ ________________________________________ © COPYRIGHT BY ANJA PAULINE EBERT 2010 All Rights Reserved Dedication I dedicate this dissertation … to Axel for his support, patience and understanding; to my parents for their help in financial straits; to Tanja and Vera for listening; to my Omalin, Hilla Ebert, whom I love deeply. ii Acknowledgements In the first place I would like to express my deepest gratitude to my advisor, Professor Anne Rothe.
    [Show full text]
  • Lehrstücke Von Brecht Im Daf-Unterricht Diplomski Rad
    Sveučilište u Zagrebu Filozofski fakultet Odsjek za germanistiku Nastavnički smjer Bojana Tkalčec Lehrstücke von Brecht im DaF-Unterricht Diplomski rad Mentorica: dr. sc. Maja Häusler Zagreb, rujan 2016. Inhaltsverzeichnis 1. Einleitung ............................................................................................................................................ 2 2. Bertolt Brecht ...................................................................................................................................... 3 2.1 Sein Leben und Werk .................................................................................................................... 3 2.2 Brecht heute ................................................................................................................................... 6 2.3 Brecht in Kroatien ......................................................................................................................... 7 3. Lehrstücke von Brecht......................................................................................................................... 9 3.1 Entstehung und Bedeutung ............................................................................................................ 9 4. Schauspiel und Schülertheater im Fremdsprachenunterricht ............................................................ 11 5. Unterrichtsvorschläge zum Thema: Lehrstücke von Bertolt Brecht ................................................. 13 5.1 Zielgruppe ..................................................................................................................................
    [Show full text]
  • Encounters with Wolves
    Marlis Heyer Susanne Hose Hrsg. Mały rjad Serbskeho instituta Budyšin Kleine Reihe des Sorbischen Instituts Bautzen 32 Encounters with Wolves: Dynamics and Futures Begegnungen mit Wölfen Zetkanja z wjelkami 32 · 2020 Mały rjad Serbskeho instituta Budyšin Kleine Reihe des Sorbischen Instituts Bautzen Marlis Heyer Susanne Hose Hrsg. Encounters with Wolves: Dynamics and Futures Begegnungen mit Wölfen Zetkanja z wjelkami © 2020 Serbski institut Budyšin Sorbisches Institut Bautzen Dwórnišćowa 6 · Bahnhofstraße 6 D-02625 Budyšin · Bautzen Spěchowane wot Załožby za serbski lud, kotraž T +49 3591 4972-0 dóstawa lětnje přiražki z dawkowych srědkow na F +49 3591 4972-14 zakładźe hospodarskich planow, wobzamknjenych www.serbski-institut.de wot zapósłancow Zwjazkoweho sejma, Krajneho sejma Braniborska a Sakskeho krajneho sejma. [email protected] Gefördert durch die Stiftung für das sorbische Redakcija Redaktion Volk, die jährlich auf der Grundlage der von den Marlis Heyer, Susanne Hose Abgeordneten des Deutschen Bundestages, des Landtages Brandenburg und des Sächsischen Wuhotowanje Gestaltung Landtages beschlossenen Haushalte Zuwen- Ralf Reimann, Büro für Gestaltung, dungen aus Steuermitteln erhält. Bautzen Ćišć Druck Grafik S. 33 unter Verwendung eines 32 Union Druckerei Dresden GmbH Scherenschnitts von Elisabeth Müller, Collmen Mały rjad Serbskeho instituta Budyšin ISBN 978-3-9816961-7-2 Grafik S. 87 nach GEO-Karte 5/2018 Kleine Reihe des Sorbischen Instituts Bautzen Page Content 5 Marlis Heyer and Susanne Hose Vorwort · Preface 23 Emilia
    [Show full text]
  • 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.
    [Show full text]
  • Thesis Formatted for Submission Final Oct 6.Pdf
    TALKING ABOUT THE AESTHETIC OF THE HUMANE: EXPLORING COMMUNICATION IN THE CONTENT AND STRUCTURE OF HEINRICH BÖLL’S EARLY NOVELS A Thesis Presented to the Faculty of the Graduate School Of Cornell University In Partial Fulfillment of the Requirements for the Degree of Master of Arts By David Sebastian Low January 2009 © 2009 David Sebastian Low ABSTRACT In his Frankfurter Vorlesungen Heinrich Böll attempts to formulate an aesthetic program that explains how the moral content of writing might be inscribed in its structure. This “aesthetic of the humane” would involve the subject-matter and orientation of a work’s content toward the representation of the historically real and the truth content of that reality. The “real” as it is in the historical world and that “reality” that contains the truth content of the experienced world are to be unified in the aesthetic of the humane, and it is the author who is burdened with the task of mediating the two for her reader. In many of his essays Böll privileges communication as an inherently moral act, and emphasizes the responsibility of the author to use his vocation humanely. In order to understand how Böll realized the concept of the aesthetic of the humane in his own writing we may look to how he uses communication within his texts to demonstrate moral action. Communication between characters at the level of plot corresponds to the author’s obligation to depict the “real” historical component, and communicative structures in the matrix of his novels relate to the “reality” of mediated experience provided as commentary by the author to the reader.
    [Show full text]
  • El Llegat Dels Germans Grimm En El Segle Xxi: Del Paper a La Pantalla Emili Samper Prunera Universitat Rovira I Virgili [email protected]
    El llegat dels germans Grimm en el segle xxi: del paper a la pantalla Emili Samper Prunera Universitat Rovira i Virgili [email protected] Resum Les rondalles que els germans Grimm van recollir als Kinder- und Hausmärchen han traspassat la frontera del paper amb nombroses adaptacions literàries, cinema- togràfiques o televisives. La pel·lícula The brothers Grimm (2005), de Terry Gilli- am, i la primera temporada de la sèrie Grimm (2011-2012), de la cadena NBC, són dos mostres recents d’obres audiovisuals que han agafat les rondalles dels Grimm com a base per elaborar la seva ficció. En aquest article s’analitza el tractament de les rondalles que apareixen en totes dues obres (tenint en compte un precedent de 1962, The wonderful world of the Brothers Grimm), així com el rol que adopten els mateixos germans Grimm, que passen de creadors a convertir-se ells mateixos en personatges de ficció. Es recorre, d’aquesta manera, el camí invers al que han realitzat els responsables d’aquestes adaptacions: de la pantalla (gran o petita) es torna al paper, mostrant quines són les rondalles dels Grimm que s’han adaptat i de quina manera s’ha dut a terme aquesta adaptació. Paraules clau Grimm, Kinder- und Hausmärchen, The brothers Grimm, Terry Gilliam, rondalla Summary The tales that the Grimm brothers collected in their Kinder- und Hausmärchen have gone beyond the confines of paper with numerous literary, cinematographic and TV adaptations. The film The Brothers Grimm (2005), by Terry Gilliam, and the first season of the series Grimm (2011–2012), produced by the NBC network, are two recent examples of audiovisual productions that have taken the Grimm brothers’ tales as a base on which to create their fiction.
    [Show full text]