DOCSLIB.ORG

Richard Wagner's Jesus Von Nazareth

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Richard Wagner's Jesus Von Nazareth Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2013 Richard Wagner's Jesus von Nazareth Matthew Giessel Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the History Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/3284 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Matthew J. Giessel 2013 All Rights Reserved Richard Wagner’s Jesus von Nazareth A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at Virginia Commonwealth University by Matthew J. Giessel B.A., Virginia Commonwealth University, 2009 Director: Joseph Bendersky, Ph.D. Professor, Department of History, Virginia Commonwealth University Thesis Committee: Second Reader: John Powers, Ph.D. Assistant to the Chair, Department of History, Virginia Commonwealth University Third Reader: Paul Dvorak, Ph.D. Professor Emeritus, School of World Studies, Virginia Commonwealth University Virginia Commonwealth University Richmond, Virginia December 2013 ii Acknowledgment τῇ Καλλίστῃ: ὁ ἔρως ἡμῶν ἦν ἀληθινός. “Jede Trennung giebt einen Vorschmack des Todes, — und jedes Wiedersehn einen Vorschmack der Auferstehung.” iii Table of Contents Abstract…………………………………………………………………………………………....v Introduction………………………………………………………………………………………..1 Part I: Religion and Revolution: Historical Contextualization……………………………………5 Chapter 1: Broad Influences ……………………………………………………………...6 The Passion in Drama and Music…………………………………………6 Martin Luther, Protestantism, and Catholicism………………………….15 Chapter 2: Wagner’s Internal Development……………………………………………..23 Wagner’s Revolutionary Mentality……………………………………....23 Speech to the Vaterslandsverein…………………………………………24 Volksblätter Articles……………………………………………………..28 Die Kunst und die Revolution....................................................................32 “Künstlerthum der Zukunft”......................................................................37 Das Kunstwerk der Zukunft.......................................................................38 “The Unbeauty of Civilization”……………….…………………………41 Das Judenthum in der Musik…………….………………………………42 Das Liebesmahl der Apostel……………….………………………….…44 Rienzi..........................................................................................................48 Tannhäuser and Lohengrin........................................................................49 Chapter 3: Contemporary Intellectual Influences………………………………………52 Hegel, Schelling, and Fichte………………………………………..……52 Feuerbach…………………………………………………...……………62 Bauer…………………………………………………………………..…72 Stirner……………………………………………………….……………74 Ruge…..………………………………………………………………….76 Strauss……………………………………………………………………77 Weitling………………………..…………………………………………80 Junges Deutschland and Saint-Simone……………...………..………….83 Bakunin……..……………………………………………………………88 Röckel……………………………………………………………………92 Proudhon…………………………………………………………………94 Lamennais and Lamartine……………………………………………..…98 Part II: Jesus von Nazareth…………………………………………………………………..…102 Chapter 4: General Outline of the Work………..………………………………………102 Historiography……….…………………………………………………102 Structure…………………………………………………………..……112 Plot Summary……………………………………………………..……117 Analysis of the Drama……………………………………………….…120 Wagner’s Exegetical Framework………………………………………128 Chapter 5: Scriptural Citations and Theoretical Underpinning…………………...……132 Wagner’s Relative Understanding of Greek……………………………134 Love……………………………………………………………….……136 iv The Law………………………………………………..………………141 Materialism…………………………………………………..…………154 Revolution………………………………………………………………170 Theoretical Section……………………………………………..………174 Chapter 6: Wagner’s Subsequent Christology: A Summation…………………………175 Wagner’s Retrospective Thoughts on Jesus von Nazareth…………..…175 Schopenhauer and the Transcendental Turn……………………………179 Gfrörer and Renan………………………………………………………185 Religion und Kunst…………………………………………………...…186 Wagner’s Letters………………………………………………..………191 Die Sieger and Parsifal…………………………………………………194 Conclusion…………………………………………………………………………………...…196 Appendix………………………………………………………………………………….……211 Bibliography………………………………………………………………………………..…..220 v Abstract RICHARD WAGNER’S JESUS VON NAZARETH. By Matthew J. Giessel, M.A. A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at Virginia Commonwealth University. Virginia Commonwealth University, 2013. Director: Joseph Bendersky, Ph.D., Professor, Department of History. In addition to his renowned musical output, Richard Wagner produced a logorrhoeic prose oeuvre, including a dramatic sketch of the last weeks of the life of Jesus Christ entitled Jesus von Nazareth. Though drafted in 1848-1849, it was published only posthumously, and has therefore been somewhat neglected in the otherwise voluminous Wagnerian literature. This thesis first examines the origins of Jesus von Nazareth amidst the climate of revolution wherein it was conceived, ascertaining its place within Wagner’s own internal development and amongst the radical thinkers who influenced it. While Ludwig Feuerbach has traditionally been seen as the most prominent of these, this thesis examines Wagner’s sources more broadly. The thesis then summarizes and analyzes Jesus von Nazareth itself, particularly in terms of Wagner’s use of biblical scripture. The thesis demonstrates how his not infrequent misuse thereof constitutes one way in which Wagner transmogrifies Jesus as mutable lens through which his own ideology of social revolution is reflected. It also attempts to provide a critical assessment of the relative dramatic merits of Jesus von Nazareth and looks into Wagner’s ultimate decision not to complete the work. The thesis then briefly summarizes the changes that occurred in Wagner’s mature Christological outlook subsequent to his drafting of Jesus von Nazareth, attempting to concisely demonstrate some developments beyond Wagner’s well-known encounter with the philosophy of vi Arthur Schopenhauer. The thesis concludes with an evaluation of how Jesus von Nazareth informed Wagner’s general religious outlook and the extent to which this worldview is a productive one. Introduction “κτῆμά τε ἐς αἰεὶ μᾶλλον ἢ ἀγώνισμα ἐς τὸ παραχρῆμα ἀκούειν ξύγκειται.”1 Rarely has there been a more polarizing artistic figure than Wilhelm Richard Wagner. But despite his enduring legacy of controversy, his continued relevance has derived in part from the manner in which he composed his works, which, to paraphrase Thucydides, he intended not to garner “the applause of the moment” but instead to function as “an everlasting possession.” Though Wagner felt that his musico-dramatic output stood outside of time, and in this way somewhat solipsistically inured himself to criticism, he was nevertheless inevitably a product of his era. Wagner’s nineteenth-century Europe was a time and place in which religious dogma was increasingly questioned and in which art grew in importance to become a nigh-sacred ritual experience in its own right. Wagner was at the forefront of both of these trends, and he in fact played a large role in creating a kind of art-religion in his operas. Indeed, we find Wagner opening his 1880 essay Religion und Kunst2 with a bold statement to this effect: One might say that where Religion becomes artificial, it is reserved for Art to save the spirit of religion by recognising the figurative value of the mythic symbols which the former would have us believe in their literal sense, and revealing their deep and hidden truth through an ideal presentation. Whilst the priest stakes everything on the religious allegories being accepted as matters of fact, the artist has no concern at all with such a thing, since he freely and openly gives out his work as his own invention. But Religion has sunk into an artificial life, when she finds herself compelled to keep on adding to the edifice of her dogmatic symbols, and thus conceals the one divinely True in her beneath an ever growing heap of incredibilities commended to belief. Feeling this, she has always sought the aid of Art; who on her side has remained incapable of higher evolution so long as she must present that alleged reality of the symbol to the senses of the worshipper in form of fetishes and idols,— whereas she could only fulfil her true vocation when, 1 “In fine, I have written my work, not as an essay which is to win the applause of the moment, but as a possession for all time.” (trans. Richard Crawley) Cf. “My history is an everlasting possession, not a prize composition which is heard and forgotten.” (trans. Benjamin Jowett) Thucydides, The Peloponnesian War, book 1, chapter 22, accessed November 27, 2013, http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3atext%3a1999.01.0199. 2 Religion and Art. 1 by an ideal presentment of the allegoric figure, she led to apprehension of its inner kernel, the truth ineffably divine.3 Such a manifesto could have served as an explanation for Wagner’s Jesus von Nazareth, written thirty years prior, to say nothing of encompassing the spirit of most of his artistic oeuvre in general. Though the exact timeframe of its drafting is not definitively known, Jesus von Nazareth was most likely written in late 1848-1849 in Dresden, when Wagner increasingly became involved with the revolutionary movement
Load more

Recommended publications
  • Celebrities As Political Representatives: Explaining the Exchangeability of Celebrity Capital in the Political Field
    Celebrities as Political Representatives: Explaining the Exchangeability of Celebrity Capital in the Political Field Ellen Watts Royal Holloway, University of London Submitted for the degree of Doctor of Philosophy in Politics 2018 Declaration I, Ellen Watts, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Ellen Watts September 17, 2018. 2 Abstract The ability of celebrities to become influential political actors is evident (Marsh et al., 2010; Street 2004; 2012, West and Orman, 2003; Wheeler, 2013); the process enabling this is not. While Driessens’ (2013) concept of celebrity capital provides a starting point, it remains unclear how celebrity capital is exchanged for political capital. Returning to Street’s (2004) argument that celebrities claim to speak for others provides an opportunity to address this. In this thesis I argue successful exchange is contingent on acceptance of such claims, and contribute an original model for understanding this process. I explore the implicit interconnections between Saward’s (2010) theory of representative claims, and Bourdieu’s (1991) work on political capital and the political field. On this basis, I argue celebrity capital has greater explanatory power in political contexts when fused with Saward’s theory of representative claims. Three qualitative case studies provide demonstrations of this process at work. Contributing to work on how celebrities are evaluated within political and cultural hierarchies (Inthorn and Street, 2011; Marshall, 2014; Mendick et al., 2018; Ribke, 2015; Skeggs and Wood, 2011), I ask which key factors influence this process.
    [Show full text]
  • The Total Work of Art in European Modernism Series Editor: Peter Uwe Hohendahl, Cornell University
    The Total Work of Art in European Modernism Series editor: Peter Uwe Hohendahl, Cornell University Signale: Modern German Letters, Cultures, and Thought publishes new English- language books in literary studies, criticism, cultural studies, and intellectual history pertaining to the German-speaking world, as well as translations of im- portant German-language works. Signale construes “modern” in the broadest terms: the series covers topics ranging from the early modern period to the present. Signale books are published under a joint imprint of Cornell University Press and Cornell University Library in electronic and print formats. Please see http://signale.cornell.edu/. The Total Work of Art in European Modernism David Roberts A Signale Book Cornell University Press and Cornell University Library Ithaca, New York Cornell University Press and Cornell University Library gratefully acknowledge the support of The Andrew W. Mellon Foundation for the publication of this volume. Copyright © 2011 by Cornell University All rights reserved. Except for brief quotations in a review, this book, or parts thereof, must not be reproduced in any form without permission in writ- ing from the publisher. For information, address Cornell University Press, Sage House, 512 East State Street, Ithaca, New York 14850. First published 2011 by Cornell University Press and Cornell University Library Printed in the United States of America Library of Congress Cataloging-in-Publication Data Roberts, David, 1937– The total work of art in European modernism / David Roberts. p. cm. — (Signale : modern German letters, cultures, and thought) Includes bibliographical references and index. ISBN 978-0-8014-5023-5 (pbk. : alk. paper) 1. Modernism (Aesthetics) 2.
    [Show full text]
  • RODDY-DISSERTATION.Pdf
    Copyright by Conor Roddy 2011 The Dissertation Committee for Conor Roddy Certifies that this is the approved version of the following dissertation: Nietzsche’s Buddhist Leidmotive: A Comparative Study of Nietzsche’s Response to the Problem of Suffering Committee: Kathleen Marie Higgins, Supervisor Katherine Arens Lars Gustafsson A. P. Martinich Stephen H. Phillips Nietzsche’s Buddhist Leidmotive: A Comparative Study of Nietzsche’s Response to the Problem of Suffering by Conor Roddy, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December 2011 Dedication In loving memory of my parents Larry and Patricia Roddy Acknowledgements ―For Confucius,‖ as Herbert Fingarette once remarked, ―unless there are at least two human beings, there can be no human beings‖ (217). One cannot become a person on one‘s own in other words, and although it sometimes seems like a lonely process, one cannot write a dissertation by oneself either. There are so many people who made so many things possible for me to whom I wish to express my gratitude, and since I‘m not planning on writing another dissertation in the near future, I‘m going to do so now. I want to thank all my professors in Dublin, Honolulu, and Austin. When I was an undergraduate in Ireland, it was a passing remark by William Lyons that first got me interested in Nietzsche. During my time in Hawaii, Arindam Chakrabarti, Graham Parkes, and Roger Ames were particularly helpful.
    [Show full text]
  • Bowen Abstract
    The Rise and Fall of the Bass Clarinet in A Keith Bowen The bass clarinet in A was introduced by Wagner in Lohengrin in 1848. It was used up to 1990 in about sixty works by over twenty composers, including the Ring cycle, five Mahler symphonies and Rosenkavalier. But it last appeared in Messiaen’s Turangalîla-Symphonie (1948, revised 1990), and the instrument is generally regarded as obsolete.1 Several publications discuss the bass clarinet, notably Rice (2009). However, only Leeson2 and Joppig3 seriously discuss the ‘A’ instrument. Leeson suggests possibilities for its popularity: compatibility with the tonality of the soprano clarinets, the extra semitone at the bottom of the range and the sonority of the instrument. For its disappearance he posits the extension of range of the B¨ bass, and the convenience of having only one instrument. He suggests that its history is more likely to be found in the German than in the French bass clarinet tradition. Joppig examines one aspect of this tradition: Mahler’s use of the clarinet family. The first successful4 bass clarinet was the bassoon form, invented by Grenser in 1793 and made in quantity for almost a century. These instruments descended to at least C and had sufficient range for all parts for the bass clarinet in A.5 They were made in B¨ and C, but no examples in A are known so far. Their main use was in wind bands to provide a more powerful bass than the bassoon.6 For orchestral music, they were perceived to be only partially successful as bass for the clarinet family because of their different principle of construction.7 The modern form was invented by Desfontenelles in 1807 and improved by Buffet (1833) and Adolphe Sax (1838).
    [Show full text]
  • The Bayreuth Festspielhaus: the Metaphysical Manifestation of Wagner's Der Ring Des Nibelungen Matthew Timmermans University of Ottawa
    Nota Bene: Canadian Undergraduate Journal of Musicology Volume 8 | Issue 1 Article 6 The Bayreuth Festspielhaus: The Metaphysical Manifestation of Wagner's Der Ring des Nibelungen Matthew Timmermans University of Ottawa Recommended Citation Timmermans, Matthew (2015) "The Bayreuth Festspielhaus: The Metaphysical Manifestation of Wagner's Der Ring des Nibelungen," Nota Bene: Canadian Undergraduate Journal of Musicology: Vol. 8: Iss. 1, Article 6. The Bayreuth Festspielhaus: The Metaphysical Manifestation of Wagner's Der Ring des Nibelungen Abstract This essay explores how the architectural design of the Bayreuth Festspielhaus effects the performance of Wagner’s later operas, specifically Der Ring des Nibelungen. Contrary to Wagner’s theoretical writings, which advocate equality among the various facets of operatic production (Gesamtkuntswerk), I argue that Wagner’s architectural design elevates music above these other art forms. The evidence lies within the unique architecture of the house, which Wagner constructed to realize his operatic vision. An old conception of Wagnerian performance advocated by Cosima Wagner—in interviews and letters—was consciously left by Richard Wagner. However, I juxtapose this with Daniel Barenboim’s modern interpretation, which suggests that Wagner unconsciously, or by a Will beyond himself, created Bayreuth as more than the legacy he passed on. The juxtaposition parallels the revolutionary nature of Wagner’s ideas embedded in Bayreuth’s architecture. To underscore this revolution, I briefly outline Wagner’s philosophical development, specifically the ideas he extracted from the works of Ludwig Feuerbach and Arthur Schopenhauer, further defining the focus of Wagner’s composition and performance of the music. The analysis thereby challenges the prevailing belief that Wagner intended Bayreuth and Der Ring des Nibelungen, the opera which inspired the house’s inception, to embody Gesamtkunstwerk; instead, these creations internalize the drama, allowing the music to reign supreme.
    [Show full text]
  • The Port Securityscape an Ethnography
    The port securityscape an ethnography by Yarin Eski Thesis submitted in fulfilment for the Degree of Doctor of Philosophy School of Social and Political Sciences University of Glasgow Scottish Centre for Crime and Justice Research 63 Gibson Street Glasgow G12 8LR Scotland Prof Fergus McNeill (first supervisor) Prof Simon Mackenzie (second supervisor) Dr Nicole Bourque (internal examiner) Prof Ian Loader (external examiner) Abstract 9/11 changed the face of maritime transport that is responsible for moving 80% of everything we consume. Ports are vital hubs in that maritime transport and any disruption there instantly affects global trade. To protect the global supply chain from crime and terrorism, both must be disrupted locally in the port by port police and security officers that are responsible for port security at operational level. Public and critical criminological attention to these key security actors, however, is virtually non-existent. This thesis therefore explores how their occupational realities and identities are (re)established in two major European ports, by providing an ethnographic account. To do so, the thesis builds on multi-sited ethnographic fieldwork in the ports of Rotterdam and Hamburg between 2011 and 2012, during which everyday policing and security work has been documented, followed by a thematic analysis. The key argument runs thus: the port is a local space for the global trade, which is underappreciated and underestimated by the public, and has its police and security professionals in place both aboard and on shore who protect and defend that vital trade site. The aggressive commercialist governmentality that goes on behind that vital global trade is unwillingly yielded to by these guardians but not without any bottom-up resistance.
    [Show full text]
  • The Pedagogical Legacy of Johann Nepomuk Hummel
    ABSTRACT Title of Document: THE PEDAGOGICAL LEGACY OF JOHANN NEPOMUK HUMMEL. Jarl Olaf Hulbert, Doctor of Philosophy, 2006 Directed By: Professor Shelley G. Davis School of Music, Division of Musicology & Ethnomusicology Johann Nepomuk Hummel (1778-1837), a student of Mozart and Haydn, and colleague of Beethoven, made a spectacular ascent from child-prodigy to pianist- superstar. A composer with considerable output, he garnered enormous recognition as piano virtuoso and teacher. Acclaimed for his dazzling, beautifully clean, and elegant legato playing, his superb pedagogical skills made him a much sought after and highly paid teacher. This dissertation examines Hummel’s eminent role as piano pedagogue reassessing his legacy. Furthering previous research (e.g. Karl Benyovszky, Marion Barnum, Joel Sachs) with newly consulted archival material, this study focuses on the impact of Hummel on his students. Part One deals with Hummel’s biography and his seminal piano treatise, Ausführliche theoretisch-practische Anweisung zum Piano- Forte-Spiel, vom ersten Elementar-Unterrichte an, bis zur vollkommensten Ausbildung, 1828 (published in German, English, French, and Italian). Part Two discusses Hummel, the pedagogue; the impact on his star-students, notably Adolph Henselt, Ferdinand Hiller, and Sigismond Thalberg; his influence on musicians such as Chopin and Mendelssohn; and the spreading of his method throughout Europe and the US. Part Three deals with the precipitous decline of Hummel’s reputation, particularly after severe attacks by Robert Schumann. His recent resurgence as a musician of note is exemplified in a case study of the changes in the appreciation of the Septet in D Minor, one of Hummel’s most celebrated compositions.
    [Show full text]
  • From Page to Stage: Wagner As Regisseur
    Wagner Ia 5/27/09 3:55 PM Page 3 Copyrighted Material From Page to Stage: Wagner as Regisseur KATHERINE SYER Nowadays we tend to think of Richard Wagner as an opera composer whose ambitions and versatility extended beyond those of most musicians. From the beginning of his career he assumed the role of his own librettist, and he gradually expanded his sphere of involvement to include virtually all aspects of bringing an opera to the stage. If we focus our attention on the detailed dramatic scenarios he created as the bases for his stage works, we might well consider Wagner as a librettist whose ambitions extended rather unusually to the area of composition. In this light, Wagner could be considered alongside other theater poets who paid close attention to pro- duction matters, and often musical issues as well.1 The work of one such figure, Eugène Scribe, formed the foundation of grand opera as it flour- ished in Paris in the second quarter of the nineteenth century. Wagner arrived in this operatic epicenter in the fall of 1839 with work on his grand opera Rienzi already under way, but his prospects at the Opéra soon waned. The following spring, Wagner sent Scribe a dramatic scenario for a shorter work hoping that the efforts of this famous librettist would help pave his way to success. Scribe did not oblige. Wagner eventually sold the scenario to the Opéra, but not before transforming it into a markedly imaginative libretto for his own use.2 Wagner’s experience of operatic stage produc- tion in Paris is reflected in many aspects of the libretto of Der fliegende Holländer, the beginning of an artistic vision that would draw him increas- ingly deeper into the world of stage direction and production.
    [Show full text]
  • What Price Love.Pdf
    Ring 2018 articles V2.qxp_RING 2018 5/19/18 4:20 PM Page 1 B Y P E T E R B A S S E T T WHAT ichard Wagner’s Der Ring des Nibelungen is rarely described as an extended love story, but that is what it is. The changing relationships throughout the four oRperas tend to obscure this central idea but, when you think about PRICE it, love is the thread that binds the whole story together—not love confined to a single pair of individuals but love as the alternative to hatred and revenge, power and property, greed and envy. The story begins with love’s renunciation and ends with its triumph as LOVE? the one irreplaceable, transforming ingredient in a new world order. That surely is the significance of the soaring orchestral melody that concludes Götterdämmerung. It is difficult to separate the allegory of the Ring from events in A century before post-Napoleonic europe when rival forces were attempting, on the one hand, to restore reactionary systems of government (think George Orwell’s 1984, of them as the gods) and, on the other hand, to establish new sys- tems of capital ushered in by the Industrial Revolution (think of alberich and his ilk). The result was a chain of political uprisings the Ring warned of throughout europe in the 1830s and ’40s—and incredible intellec- tual and creative ferment. Goethe and Beethoven were alive when the rise of totalitarianism Wagner was a teenager, Charles Darwin was four years his senior, and Karl Marx was five years his junior.
    [Show full text]
  • Wagner and the Erotic Impulse
    WAGNER AND THE EROTIC IMPULSE WAGNER AND THE EROTIC IMPULSE LAURENCE DREYFUS harvard university press Cambridge, Massachusetts London, En gland 2010 Copyright © 2010 by Laurence Dreyfus All rights reserved Printed in the United States of America Library of Congress Cataloging- in- Publication Data Dreyfus, Laurence, 1952– Wagner and the erotic impulse / Laurence Dreyfus. p. cm. Includes bibliographical references and index. ISBN 978- 0- 674- 01881- 5 (alk. paper) 1. Wagner, Richard, 1813– 1883—Criticism and interpretation. 2. Opera— 19th century. 3. Sex in opera. I. Title. ML410.W13D74 2010 782.1092—dc22 2010011118 Need I add that Wagner also owes his success to his sensuality? Habe ich noch zu sagen, daß Wagner seiner Sinnlichkeit auch seinen Erfolg verdankt? —Friedrich Nietz sche, Nachlaß (1888) C ONTENTS Preface ix Abbreviations xv 1. Echoes 1 Music and Eros — Søren Kierkegaard — Suggestive Music — Peculiarities of Musical Erotics — Charles Baudelaire — Friedrich Nietz sche and Malwida von Meysenbug — Édouard Schuré and Hans von Bülow — Ludwig Schnorr von Carolsfeld — Gabriele D’Annunzio and Thomas Mann — Wagner’s critics — Clara Schumann 2. Intentions 40 Julius Kapp and Ernest Newman — Das Liebesverbot — Salvation from Arousal — Wilhelmine Schröder- Devrient — Arthur Schopenhauer — Opera, Not Philosophy 3. Harmonies 73 Der Fliegende Holländer — Tannhäuser — Erotics in the Literary Sources — A Tour of the Venusberg — Love in the Ring Poem — Die Walküre — Tristan und Isolde — The Tristan Chord — Musical Paradigms in the Tristan Prelude
    [Show full text]
  • Ethical Shopping Guide to Cat and Dog Food
    THANK YOU FOR DOWNLOADING THIS ETHICAL CONSUMER RESEARCH REPORT. It contains a buyers’ guide complete with: • a detailed article • rankings table • Best Buy advice • all the stories behind the marks on the table • company ownership and contact details • full list of references £4.25 EC121 November/December 2009 www.ethicalconsumer.org Subscribe to Ethical Consumer and get instant access to over 80 similar reports (worth over £240) as part of your subscription. Subscribers also get: Revealing the dark heart Ethical Consumer magazine of the chocolate industry – play fair, not dirty Toys & games consoles – cutting the environmental costs - keeping you up to date with all the latest ethical news and analysis Razors & shavers Rating • Unique buyers’ guides with detailed ratings tables, Best Buys advice, (out of 20) Brand 17 company profiles, news, boycotts, comment and more Equal Exchange tea 17 [F,O] 17 Online back issues archive HampsteadCo tea Tea [F,O] & Coffee • 17 Purely Organic tea [F,O] Steenbergs English • Available in print through the post or as a digital download breakfast tea [F,O] Unlimited, 24 hour access to our premium website ethiscore.org been a contributor to carbon emissions which had a damaging effect on the environment. (ref: 3) or dolphin No palm oil policy Sustainable(July 2009) forestry policy (2008) contacted, 123 had a dmitted to selling whale and/ A search was madeWal-Mart of the Walmart did not website respond (www.walmartstores. to a request by ECRA in Ocober 2008 meat. It said Sea Shepherd had been urging its members and the com) on 8th July 2009.for the No company’s policy on popalmlicy oil on could the sustainable be found.
    [Show full text]
  • Nestlé's Winning Formula for Brand Management
    Feature By Véronique Musson Nestlé’s winning formula for brand management ‘Enormous’ hardly begins to describe the trademark that develop products worldwide and are managed from our portfolio of the world’s largest food and drink company headquarters in Vevey, Switzerland or St Louis in the United States,” he explains. So eight trademark advisers, also based in Vevey, advise one – and the workload involved in managing it. But when or more strategic business units on the protection of strategic it comes to finding the best solutions to protect these trademarks, designs and copyrights, while one adviser based in St very valuable assets, Nestlé has found that what works Louis advises the petcare strategic business unit on trademarks and best for it is looking for the answers in-house related issues, as the global petcare business has been managed from St Louis since the acquisition of Ralston Purina in 2001. In parallel, 16 regional IP advisers spread around the world advise the Nestlé Imagine that you start your day with a glass of VITTEL water operating companies (there were 487 production sites worldwide at followed by a cup of CARNATION Instant Breakfast drink. Mid- the end of 2005) on all aspects of intellectual property, including morning you have a cup of NESCAFÉ instant coffee and snack on a trademarks, with a particular focus on local marks. The trademark cheeky KIT KAT chocolate bar; lunch is a HERTA sausage with group also includes a dedicated lawyer in Vevey who manages the BUITONI pasta-and-sauce affair, finished off by a SKI yogurt.
    [Show full text]