The Nature of Evil by the Same Author
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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. -
DIE LIEBE DER DANAE July 29 – August 7, 2011
DIE LIEBE DER DANAE July 29 – August 7, 2011 the richard b. fisher center for the performing arts at bard college About The Richard B. Fisher Center for the Performing Arts at Bard College The Richard B. Fisher Center for the Performing Arts, an environment for world-class artistic presentation in the Hudson Valley, was designed by Frank Gehry and opened in 2003. Risk-taking performances and provocative programs take place in the 800-seat Sosnoff Theater, a proscenium-arch space; and in the 220-seat Theater Two, which features a flexible seating configuration. The Center is home to Bard College’s Theater and Dance Programs, and host to two annual summer festivals: SummerScape, which offers opera, dance, theater, operetta, film, and cabaret; and the Bard Music Festival, which celebrates its 22nd year in August, with “Sibelius and His World.” The Center bears the name of the late Richard B. Fisher, the former chair of Bard College’s Board of Trustees. This magnificent building is a tribute to his vision and leadership. The outstanding arts events that take place here would not be possible without the contributions made by the Friends of the Fisher Center. We are grateful for their support and welcome all donations. ©2011 Bard College. All rights reserved. Cover Danae and the Shower of Gold (krater detail), ca. 430 bce. Réunion des Musées Nationaux/Art Resource, NY. Inside Back Cover ©Peter Aaron ’68/Esto The Richard B. Fisher Center for the Performing Arts at Bard College Chair Jeanne Donovan Fisher President Leon Botstein Honorary Patron Martti Ahtisaari, Nobel Peace Prize laureate and former president of Finland Die Liebe der Danae (The Love of Danae) Music by Richard Strauss Libretto by Joseph Gregor, after a scenario by Hugo von Hofmannsthal Directed by Kevin Newbury American Symphony Orchestra Conducted by Leon Botstein, Music Director Set Design by Rafael Viñoly and Mimi Lien Choreography by Ken Roht Costume Design by Jessica Jahn Lighting Design by D. -
Stanford Encyclopedia of Philosophy) Stanford Encyclopedia of Philosophy Arthur Schopenhauer
03/05/2017 Arthur Schopenhauer (Stanford Encyclopedia of Philosophy) Stanford Encyclopedia of Philosophy Arthur Schopenhauer First published Mon May 12, 2003; substantive revision Sat Nov 19, 2011 Among 19th century philosophers, Arthur Schopenhauer was among the first to contend that at its core, the universe is not a rational place. Inspired by Plato and Kant, both of whom regarded the world as being more amenable to reason, Schopenhauer developed their philosophies into an instinctrecognizing and ultimately ascetic outlook, emphasizing that in the face of a world filled with endless strife, we ought to minimize our natural desires for the sake of achieving a more tranquil frame of mind and a disposition towards universal beneficence. Often considered to be a thoroughgoing pessimist, Schopenhauer in fact advocated ways — via artistic, moral and ascetic forms of awareness — to overcome a frustrationfilled and fundamentally painful human condition. Since his death in 1860, his philosophy has had a special attraction for those who wonder about life's meaning, along with those engaged in music, literature, and the visual arts. 1. Life: 1788–1860 2. The Fourfold Root of the Principle of Sufficient Reason 3. Schopenhauer's Critique of Kant 4. The World as Will 5. Transcending the Human Conditions of Conflict 5.1 Aesthetic Perception as a Mode of Transcendence 5.2 Moral Awareness as a Mode of Transcendence 5.3 Asceticism and the Denial of the WilltoLive 6. Schopenhauer's Later Works 7. Critical Reflections 8. Schopenhauer's Influence Bibliography Academic Tools Other Internet Resources Related Entries 1. Life: 1788–1860 Exactly a month younger than the English Romantic poet, Lord Byron (1788–1824), who was born on January 22, 1788, Arthur Schopenhauer came into the world on February 22, 1788 in Danzig [Gdansk, Poland] — a city that had a long history in international trade as a member of the Hanseatic League. -
23/2 Personality and Learning Styles
23/2 February 2014 www.international-montessori.org www.international-montessori.org Brussels A Newsletter for the families of ‘International Montessori’ Author: Annie Hoekstra-de Roos Layout: Inspirit Personality and Learning Styles Inside: Personality and Learning Styles Personality styles become apparent during Early Childhood Characteristics of each personality styles at a young age Catering for different learning styles at school Limits are needed to create respect for others Ourselves, the parents It takes a village to raise a child Personality and Learning Styles All people are different. We are an amazing In this series of species, in that none of us are the same! We newsletters, the move, act and think differently. We have different focus will be first belief systems and values. We also all learn on nature. We will differently. We acquire knowledge in different look at a selection ways; have different strengths and weaknesses of personality types and function predominantly from a different set and related learning styles. Every person has a core, of intelligences. what Montessori called ‘The secret of childhood’. We are who we are. And we also want to stay whom Nature determines partly who we are and nurture we are. To feel true to our heart, we cannot become continues to shape the identity of each individual. different to our origin. To become happy, we need The brain is a very flexible organ, especially in the acknowledgement for whom we are. This basic first six years of life. It can adapt to any culture concept translates into predominant characteristics and any language. This is a great plus but also a through which we are recognisable by others. -
Woodbridge, Boydell Press, 2017 Gaëlle Loisel
Compte rendu de Music in Goethe’s Faust. Goethe’s Faust in Music, Lorraine Byrne Bodley (dir.), Woodbridge, Boydell Press, 2017 Gaëlle Loisel To cite this version: Gaëlle Loisel. Compte rendu de Music in Goethe’s Faust. Goethe’s Faust in Music, Lorraine Byrne Bodley (dir.), Woodbridge, Boydell Press, 2017. 2019. halshs-02344793 HAL Id: halshs-02344793 https://halshs.archives-ouvertes.fr/halshs-02344793 Submitted on 4 Nov 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Compte rendu de Lorraine Byrne Bodley (ed.), Music in Goethe’s Faust. Goethe’s Faust in music, Woodbridge, Boydell, 2017, 336 p. Paru dans la Revue de musicologie, t. 105, no 2, 2019, p. 454-458. L’ouvrage dirigé par Lorraine Byrne Bodley s’inscrit dans la continuité de ses travaux sur Goethe et son rapport à la musique (Goethe: Musical Poet, Musical Catalyst, Pater Lang, 2004 ; Proserpina: Goethe’s Melodrama with Music by Carl Eberwein, Peter Lang, 2009) ou à des compositeurs tels que Schubert (Schubert’s Goethe Settings, Routledge, 2003 ; Goethe and Schubert Across the Divide, Carysfort Press, 2003) et Zelter (Goethe and Zelter: Musical Dialogues, Ashgate, 2009). -
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. -
"With His Blood He Wrote"
:LWK+LV%ORRG+H:URWH )XQFWLRQVRIWKH3DFW0RWLILQ)DXVWLDQ/LWHUDWXUH 2OH-RKDQ+ROJHUQHV Thesis for the degree of philosophiae doctor (PhD) at the University of Bergen 'DWHRIGHIHQFH0D\ © Copyright Ole Johan Holgernes The material in this publication is protected by copyright law. Year: 2017 Title: “With his Blood he Wrote”. Functions of the Pact Motif in Faustian Literature. Author: Ole Johan Holgernes Print: AiT Bjerch AS / University of Bergen 3 Acknowledgements I would like to thank the following for their respective roles in the creation of this doctoral dissertation: Professor Anders Kristian Strand, my supervisor, who has guided this study from its initial stages to final product with a combination of encouraging friendliness, uncompromising severity and dedicated thoroughness. Professor Emeritus Frank Baron from the University of Kansas, who encouraged me and engaged in inspiring discussion regarding his own extensive Faustbook research. Eve Rosenhaft and Helga Muellneritsch from the University of Liverpool, who have provided erudite insights on recent theories of materiality of writing, sign and indexicality. Doctor Julian Reidy from the Mann archives in Zürich, with apologies for my criticism of some of his work, for sharing his insights into the overall structure of Thomas Mann’s Doktor Faustus, and for providing me with some sources that have been valuable to my work. Professor Erik Bjerck Hagen for help with updated Ibsen research, and for organizing the research group “History, Reception, Rhetoric”, which has provided a platform for presentations of works in progress. Professor Lars Sætre for his role in organizing the research school TBLR, for arranging a master class during the final phase of my work, and for friendly words of encouragement. -
The Two Souls of Schopenhauerism: Analysis of New Historiographical Categories
UFSM Voluntas: Revista Internacional de Filosofia DOI: 10.5902/2179378661962 Santa Maria, v.11, n. 3, p. 207-223 ISSN 2179-3786 Fluxo contínuo Submissão: 25/10/2020 Aprovação: 06/01/2021 Publicação: 15/01/2021 The two souls of Schopenhauerism: analysis of new historiographical categories Le due anime dello schopenhauerismo: analisi delle nuove categorie storiografiche Giulia Miglietta* Abstract: The Wirkungsgeschichte of Schopenhauerism is a complex mixture of events, encounters, influences and transformations. In order to orient oneself concerning such an articulated phenomenon, it is necessary to have valid hermeneutical tools at hand. In this contribution, I propose a reading of the Wirkungsgeschichte of Schopenhauerism through new and effective historiographical categories that resulted from the research conducted by the Interdepartmental Research Centre on Arthur Schopenhauer and his School at the University of Salento. On the one hand, I will refer to Domenico Fazio’s studies on the Schopenhauer-Schule and, on the other, to Fabio Ciracì’s research on the reception of Schopenhauer’s philosophy in Italy. This approach will reveal how the formulation of the so- called “two souls” of Schopenhauerism, the romantic and the illuministic, allows us to unravel the multifaceted panorama of the Wirkungsgeschichte of Schopenhauerian philosophy, in line with the subdivision within the Schopenhauer-Schule of metaphysical and heretical thinkers. Keyword: Schopenhauer; Wirkungsgeschichte; Illuministic soul; Romantic soul; Historiographical categories. -
How the Dismal Science Got Its Name How the Dismal Science GOT ITS NAME
How the Dismal Science Got Its Name How the Dismal Science GOT ITS NAME Classical Economics and the Ur-Text of Racial Politics David M. Levy Ann Arbor Copyright © by the University of Michigan 2001 All rights reserved Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid-free paper 2004 2003 2002 2001 4321 No part of this publication may be reproduced, stored in a retrieval system, or trans- mitted in any form or by any means, electronic, mechanical, or otherwise, without the written permission of the publisher. A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Levy, David M. How the dismal science got its name : classical economics and the ur-text of racial politics / David M. Levy. p. cm. Includes bibliographical references and index. ISBN 0-472-11219-8 (Cloth : alk. paper) 1. Economics. 2. Economics—Sociological aspects. 3. Racism. I. Title. HB71 .L546 2001 330'.09—dc21 2001001402 Ur-Text The hidden original from which all others descend in confused and imperfect fashion. Contents Acknowledgments ix Preface: Answering the Obvious Question xiii Part 1. Two Sciences in Collision: The Dismal and the Gay 1. Poets Come, Bringing Death to Friends of the Dismal Science 3 2. Ecce Homo: Symbols Make the Man 29 3. Beginning with an Exchange or with a Command? 41 4. A Rational Choice Approach to Scholarship 58 Part 2. Market Order or Hierarchy? 5. Debating Racial Quackery 81 6. -
Goethe's Faust Essay Prize for Sixth-Formers Further Resources
A German Classic: Goethe’s Faust Essay Prize for Sixth-Formers Further Resources Urfaust and Faust, Part II Johann Wolfgang von Goethe: Urfaust (1775) Johann Wolfgang von Goethe: Faust. Der Tragödie zweiter Teil (1832) Faust before Goethe Johann Spies: Historia von D. Johann Fausten (1587) Christopher Marlowe: Doctor Faustus (1592) Faust after Goethe Thomas Mann: Doktor Faustus (1947) Faust as film Faust, dir. by F.W. Murnau, with Gösta Ekman, Emil Jannings and Camilla Horn(silent film, 1926) Faust, dir. by Alexander Sokurov, with Johannes Zeiler, Anton Adasinsky and Isolda Dychauk (Russian film, 2011) Faust and music Franz Schubert: Gretchen am Spinnrade (Lied, 1814) Hear Kiri Te Kanawa sing Gretchen’s love song ‘Meine Ruh ist hin’ (‘My peace has gone’) (https://www.youtube.com/watch?v=MY0eeotSDi8). You may also wish to have a look at – and listen to – this course on Schubert’s settings of Goethe’s poems: http://www.open.edu/openlearn/history-the-arts/history/history-art/schuberts-lieder- settings-goethes-poems/content-section-0 Hector Berlioz, La damnation de Faust (opera, 1846) – see the production by Monty Python’s Terry Gilliam (http://www.bbc.co.uk/programmes/b010xwhh) Charles Gounod: Faust (opera, 1859) Ferruccio Busoni: Doktor Faust (opera, 1924) Faust to go In case you’re in need of some light inspiration, here is a summary of Faust I. Don’t worry if you can’t even begin to keep up with Michael Sommer’s German – he speaks extraordinarily fast and uses slang and rather specialised allusions. But you should be able to work out -
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Direttore editoriale: Roberto Finelli Vicedirettore: Francesco Toto Comitato scientifico: Riccardo Bellofiore (Univ. Bergamo), Jose Manuel Bermudo (Univ. Barcelona), Jacques Bidet (Univ. Paris X), Laurent Bove (Univ. Amiens), Giovanni Bonacina (Univ. Urbino), Giorgio Cesarale (Univ. Venezia), Francesco Fistetti (Univ. Bari), Lars Lambrecht (Univ. Hamburg), Christian Lazzeri (Univ. Paris X) Mario Manfredi (Univ. Bari), Pierre-François Moreau (ENS Lyon), Stefano Petrucciani (Univ. Roma-La Sapienza), Pier Paolo Poggio (Fondazione Micheletti-Brescia), Emmanuel Renault (ENS Lyon), Massimiliano Tomba (Univ. Padova), Sebastian Torres (Univ. Cordoba). Redazione: Miriam Aiello, Sergio Alloggio, Luke Edward Burke, Luca Cianca, Marta Libertà De Bastiani, Carla Fabiani, Pierluigi Marinucci, Jamila Mascat, Emanuele Martinelli, Luca Micaloni, Oscar Oddi, Giacomo Rughetti, Michela Russo, Laura Turano. Anno 1, n. 2, aprile 2017, Roma a cura di Miriam Aiello, Luca Micaloni, Giacomo Rughetti. Progetto grafico a cura di Laura Turano Immagine di copertina: Josef Albers - Tenayuca (1943) Rivista semestrale, con peer review ISSN: 2531-8934 www. consecutio.org Declinazioni del Nulla Non essere e negazione tra ontologia e politica a cura di Miriam Aiello, Luca Micaloni, Giacomo Rughetti Editoriale p. 5 Miriam Aiello, Una polifonia ‘negativa’ Monografica p. 11 Franca D'Agostini, Il nulla e la nascita filosofica dell'Europa p. 33 Roberto Morani, Figure e significati del nulla nel pensiero di Heidegger p. 49 Angelo Cicatello, Il negativo in questione. Una lettura di Adorno p. 65 Massimiliano Lenzi, In nihilum decidere. “Negatività” della creatura e nichilismo del peccato in Tommaso d’Aquino p. 89 Claude Romano, Osservazioni sulla «tavola del nulla» di Kant p. 99 Fabio Ciracì, Metafisiche del nulla. Schopenhauer, i suoi discepoli e l’incosistenza del mondo p. -
Brahms Rhapsodizing: the Alto Rhapsody and Its Expressive Double Author(S): Christopher Reynolds Reviewed Work(S): Source: the Journal of Musicology, Vol
Brahms Rhapsodizing: The Alto Rhapsody and Its Expressive Double Author(s): Christopher Reynolds Reviewed work(s): Source: The Journal of Musicology, Vol. 29, No. 2 (Spring 2012), pp. 191-238 Published by: University of California Press Stable URL: http://www.jstor.org/stable/10.1525/jm.2012.29.2.191 . Accessed: 10/07/2012 14:09 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of California Press is collaborating with JSTOR to digitize, preserve and extend access to The Journal of Musicology. http://www.jstor.org Brahms Rhapsodizing: The Alto Rhapsody and Its Expressive Double CHristop H er R E Y noL ds For Donald C. Johns Biographers have always recognized the Alto Rhapsody to be one of Brahms’s most personal works; indeed, both the composer and Clara Schumann left several unusually specific com- ments that suggest that this poignant setting of Goethe’s text about a lonely, embittered man had a particular significance for Brahms. Clara 191 wrote in her diary that after her daughter Julie Schumann announced her engagement to an Italian count on 11 July 1869, Brahms suddenly began