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MICROCOSM: Portrait of a European City by Norman Davies (Pp
communicated his desire to the Bishop, in inimitable fashion: MICROCOSM: Portrait of a European City by Norman Davies (pp. 224-266) The Holy Ghost and I are agreed that Prelate Schaffgotsch should be coadjutor of [Bresslau] and that those of your canons who resist him shall be regarded as persons who have surrendered to the Court in Vienna and to the Devil, and, having resisted the Holy Prussia annexed Silesia in the early phase of the Enlightenment. Europe was Ghost, deserve the highest degree of damnation. turning its back on the religious bigotry of the preceding period and was entering the so-called 'Age of Reason'. What is more, Prussia was one of the The Bishop replied in kind: more tolerant of the German states. It did not permit the same degree of religious liberty that had been practised in neighbouring Poland until the late The great understanding between the Holy Ghost and Your Majesty is news to me; I was seventeenth century, but equally it did not profess the same sort of religious unaware that the acquaintance had been made. I hope that He will send the Pope and the partisanship that surrounded the Habsburgs. The Hohenzollerns of Berlin had canons the inspiration appropriate to our wishes. welcomed Huguenot refugees from France and had found a modus vivendi between Lutherans and Calvinists. In this case, the King was unsuccessful. A compromise solution had to be Yet religious life in Prussian Silesia would not lack controversy. The found whereby the papal nuncio in Warsaw was charged with Silesian affairs. annexation of a predominantly Catholic province by a predominantly But, in 1747, the King tried again and Schaffgotsch, aged only thirty-one, was Protestant kingdom was to bring special problems. -
The Franco-Prussian War in French and German Literature, 1871-1900
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Carolina Digital Repository Cultural Memory and National Representation: The Franco-Prussian War in French and German Literature, 1871-1900 Christina B. Carroll A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of History. Chapel Hill 2010 Approved by: Karen Hagemann Lloyd Kramer Donald Reid © 2010 Christina B. Carroll ALL RIGHTS RESERVED ii ABSTRACT CHRISTINA CARROLL: Cultural Memory and National Representation: The Franco- Prussian War in French and German Literature, 1871-1900 (under the direction of Lloyd Kramer) This thesis examines the memory of the Franco-Prussian War in nineteenth-century French and German literature from a transnational and comparative perspective. It focuses on how four writers – Alphonse Daudet, Émile Zola, Theodor Fontane, and Detlev von Liliencron – used representations of the war to construct visions of their respective nations, which they defined against the enemy “other” and delineated in political, social, gendered, and racial terms. As it makes clear, although these authors directed their texts at a national audience, many of their works crossed the border – so even as the writers posited themselves against each other, they remained in dialogue. The thesis also incorporates reviewers’ responses to these writers’ representations, and considers the scope of their popular appeal. It contends that this ongoing, contested, and transnational process of negotiation between writers, reviewers, and readers helped shape the memory of the war and understandings of nation in nineteenth-century France and Germany. -
The German-Jewish Experience Revisited Perspectives on Jewish Texts and Contexts
The German-Jewish Experience Revisited Perspectives on Jewish Texts and Contexts Edited by Vivian Liska Editorial Board Robert Alter, Steven E. Aschheim, Richard I. Cohen, Mark H. Gelber, Moshe Halbertal, Geoffrey Hartman, Moshe Idel, Samuel Moyn, Ada Rapoport-Albert, Alvin Rosenfeld, David Ruderman, Bernd Witte Volume 3 The German-Jewish Experience Revisited Edited by Steven E. Aschheim Vivian Liska In cooperation with the Leo Baeck Institute Jerusalem In cooperation with the Leo Baeck Institute Jerusalem. An electronic version of this book is freely available, thanks to the support of libra- ries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access. More information about the initiative can be found at www.knowledgeunlatched.org This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 4.0 License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. ISBN 978-3-11-037293-9 e-ISBN (PDF) 978-3-11-036719-5 e-ISBN (EPUB) 978-3-11-039332-3 ISSN 2199-6962 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2015 Walter de Gruyter GmbH, Berlin/Boston Cover image: bpk / Staatsbibliothek zu Berlin Typesetting: PTP-Berlin, Protago-TEX-Production GmbH, Berlin Printing and binding: CPI books GmbH, Leck ♾ Printed on acid-free paper Printed in Germany www.degruyter.com Preface The essays in this volume derive partially from the Robert Liberles International Summer Research Workshop of the Leo Baeck Institute Jerusalem, 11–25 July 2013. -
Open Access Version Via Utrecht University Repository
Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka Philosopher on the throne Magdalena Grądzka Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka 3930424 March 2018 Master Thesis Art History of the Low Countries in its European Context University of Utrecht Prof. dr. M.A. Weststeijn Prof. dr. E. Manikowska 1 Philosopher on the throne Magdalena Grądzka Index Introduction p. 4 Historiography and research motivation p. 4 Theoretical framework p. 12 Research question p. 15 Chapters summary and methodology p. 15 1. The collection of Stanisław August 1.1. Introduction p. 18 1.1.1. Catalogues p. 19 1.1.2. Residences p. 22 1.2. Netherlandish painting in the collection in general p. 26 1.2.1. General remarks p. 26 1.2.2. Genres p. 28 1.2.3. Netherlandish painting in the collection per stylistic schools p. 30 1.2.3.1. The circle of Rubens and Van Dyck p. 30 1.2.3.2. The circle of Rembrandt p. 33 1.2.3.3. Italianate landscapists p. 41 1.2.3.4. Fijnschilders p. 44 1.2.3.5. Other Netherlandish artists p. 47 1.3. Other painting schools in the collection p. 52 1.3.1. Paintings by court painters in Warsaw p. 52 1.3.2. Italian paintings p. 53 1.3.3. French paintings p. 54 1.3.4. German paintings p. -
The Unique Cultural & Innnovative Twelfty 1820
Chekhov reading The Seagull to the Moscow Art Theatre Group, Stanislavski, Olga Knipper THE UNIQUE CULTURAL & INNNOVATIVE TWELFTY 1820-1939, by JACQUES CORY 2 TABLE OF CONTENTS No. of Page INSPIRATION 5 INTRODUCTION 6 THE METHODOLOGY OF THE BOOK 8 CULTURE IN EUROPEAN LANGUAGES IN THE “CENTURY”/TWELFTY 1820-1939 14 LITERATURE 16 NOBEL PRIZES IN LITERATURE 16 CORY'S LIST OF BEST AUTHORS IN 1820-1939, WITH COMMENTS AND LISTS OF BOOKS 37 CORY'S LIST OF BEST AUTHORS IN TWELFTY 1820-1939 39 THE 3 MOST SIGNIFICANT LITERATURES – FRENCH, ENGLISH, GERMAN 39 THE 3 MORE SIGNIFICANT LITERATURES – SPANISH, RUSSIAN, ITALIAN 46 THE 10 SIGNIFICANT LITERATURES – PORTUGUESE, BRAZILIAN, DUTCH, CZECH, GREEK, POLISH, SWEDISH, NORWEGIAN, DANISH, FINNISH 50 12 OTHER EUROPEAN LITERATURES – ROMANIAN, TURKISH, HUNGARIAN, SERBIAN, CROATIAN, UKRAINIAN (20 EACH), AND IRISH GAELIC, BULGARIAN, ALBANIAN, ARMENIAN, GEORGIAN, LITHUANIAN (10 EACH) 56 TOTAL OF NOS. OF AUTHORS IN EUROPEAN LANGUAGES BY CLUSTERS 59 JEWISH LANGUAGES LITERATURES 60 LITERATURES IN NON-EUROPEAN LANGUAGES 74 CORY'S LIST OF THE BEST BOOKS IN LITERATURE IN 1860-1899 78 3 SURVEY ON THE MOST/MORE/SIGNIFICANT LITERATURE/ART/MUSIC IN THE ROMANTICISM/REALISM/MODERNISM ERAS 113 ROMANTICISM IN LITERATURE, ART AND MUSIC 113 Analysis of the Results of the Romantic Era 125 REALISM IN LITERATURE, ART AND MUSIC 128 Analysis of the Results of the Realism/Naturalism Era 150 MODERNISM IN LITERATURE, ART AND MUSIC 153 Analysis of the Results of the Modernism Era 168 Analysis of the Results of the Total Period of 1820-1939 -
Robert Blum Und Die Burschenschaft
Robert Blum und die Burschenschaft von Harald Lönnecker Koblenz 2006 Dateiabruf unter: www.burschenschaft.de Dateiabruf unter: www.burschenschaft.de Robert Blum und die Burschenschaft* von Harald Lönnecker In der Einleitung zur Verfassungsurkunde der Jenaischen Burschenschaft vom Juni 1815 heißt es: „Nur solche Verbindungen, die auf den Geist gegründet sind, auf welchen überhaupt nur Verbindungen gegründet sein sollten, auf den Geist, der uns das sichern kann, was uns nächst Gott das Heiligste und Höchste sein soll, nämlich Freiheit und Selbständigkeit des Vaterlands, nur solche Verbindungen benennen wir mit dem Namen einer Burschenschaft.“1 Die Burschenschaft war die Avantgarde der deutschen Nationalbewegung. Sie wurzelte in den Freiheitskriegen, stand unter dem Einfluß von Friedrich Ludwig Jahn, Ernst Moritz Arndt und Johann Gottlieb Fichte, war geprägt durch eine idealistische Volkstumslehre, christliche Erweckung und patriotische Freiheitsliebe. Diese antinapoleonische Nationalbewegung deutscher Studenten war politische Jugendbewegung und die erste gesamtnationale Organisation des deutschen Bürgertums überhaupt, die 1817 mit dem Wartburgfest die erste gesamtdeutsche Feier ausrichtete und mit rund 3.000 Mitgliedern 1818/19 etwa ein Drittel der Studentenschaft des Deutschen Bundes umfaßte.2 Die zur nationalen Militanz neigende Burschenschaft, zu einem Gutteil hervorgegangen aus dem Lützowschen Freikorps, setzte ihr nationales Engagement in neue soziale Lebensformen um, die das Studentenleben von Grund auf reformierten. Aber nicht nur das: Die Studenten begriffen die Freiheitskriege gegen Napoleon als einen Zusammenhang von innerer Reform, innenpolitischem Freiheitsprogramm und * Zuerst in: Bundesarchiv (Hg.), Martina Jesse, Wolfgang Michalka (Bearb.), „Für Freiheit und Fortschritt gab ich alles hin.“ Robert Blum (1807-1848). Visonär – Demokrat – Revolutionär, Berlin 2006, S. 113-121. 1Paul Wentzcke, Geschichte der Deutschen Burschenschaft, Bd. -
1. Die Musikerfamilie Bach Kat. 1: "Ursprung Der Musicalisch-Bachischen Familie", Sog. Genealogie, Wahrscheinlich
Jens Ph. Wilhelm, "Dieß wunderbarste Räthsel aller Zeiten" (R. Wagner): Johann Sebastian Bach 1 Johann Sebastian Bachs Herkunft, Leben, Werk und Nachwirken (Katalogteil) - Auszug aus dem Katalog zu der Mannheimer Ausstellung des Bachhauses Eisenach (25.2.-26.3.2000) - 1. Die Musikerfamilie Bach Kat. 1: "Ursprung der musicalisch-Bachischen Familie", sog. Genealogie, wahrscheinlich von Johann Sebastian Bach Ende 1735 verfaßt, hier in der Abschrift Anna Carolina Philippina Bachs mit Zusätzen Carl Philipp Emanuel Bachs (sog. Quelle A) [Faksimile (Staatsbibliothek zu Berlin. Preußischer Kulturbesitz. Musikabteilung mit Mendelssohn- Archiv, Mus. ms. theor. 1215) - Bachhaus Eisenach; Bachdok. I/184] S.u. Dok. 1 mit einem Auszug hieraus. - Die von Bach verfaßte Genealogie ist in drei Abschriften überliefert. Sie umfaßt über einen Zeitraum von mehr als 150 Jahren biographische Angaben zu 53 Mitgliedern der Familie Bach, fast ausnahmslos Musiker. Zusammen mit dem von Bach verwahrten "Alt-Bachischen Archiv" mit Kompositionen seiner Vorfahren und Verwandten (Kat. 5) ist sie Ausdruck seines ausgeprägten Familiensinns. (Die fragmentarische Quelle C der Genealogie befindet sich übrigens im Bachhaus Eisenach [Inv. 3.1.3.5 = R 11 aF].) Kat. 2: Stammbaum der Familie Bach, nach einer Vorlage - wohl aus dem Besitz Carl Philipp Emanuel Bachs - im 18. Jahrhundert angefertigt [Faksimile (Bibliothèque Royale Bruxelles, Sammlung Johann Jacob Heinrich Westphal) - Bachhaus Eisenach] Die Genealogie (Kat. 1) und der nach ihr angefertigte Stammbaum dienten neben dem sog. Nekrolog (Kat. 63) dem ersten Bachbiographen Johann Nikolaus Forkel als Quellen für seine Schrift "Ueber Johann Sebastian Bachs Leben, Kunst und Kunstwerke" (Kat. 89). Kat. 2a: Stammbaum der Familie Bach, hrsg. vom Böhnerverein zu Gotha [Faksimile Eisenach 1999 (Bachhaus Eisenach) - Privatbesitz] Kat. -
Historismus Und Jugendstil
Bibliotheken der Stadt Mainz Historismus und Jugendstil Verlagseinbände aus der Stadtbibliothek Mainz und der Sammlung Mühlinghaus Landeshauptstadt Mainz Veröffentlichungen der Bibliotheken der Stadt Mainz Herausgegeben von der Landeshauptstadt Mainz Band 56 Historismus und Jugendstil Verlagseinbände aus der Stadtbibliothek Mainz und der Sammlung Mühlinghaus Konzeption: Gerhard Mühlinghaus Texte: Gerhard Mühlinghaus und Annelen Ottermann Fotos: Martin Steinmetz Mainz 2009 Für meinen Freund Wolfgang Hermes, auch als Dank für seine zwanzigjährige Unterstützung meiner Forschungen zum Verlagseinband. Annelen Ottermann, mit der ich an diesem Projekt über Jahre zu- sammengearbeitet habe, verdanke ich viele inhaltliche Anregungen, Ergänzungen und terminologische Klärungen – und den ›bibliothe- karischen Feinschliff‹ für den gemeinsamen Katalog. Begleitpublikation zur Ausstellung in der Wissenschaftlichen Stadtbibliothek Mainz 1.10.2009 – 6.2.2010. Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Da- ten sind im Internet über http://dnb.d-nb.de abrufbar. © Landeshauptstadt Mainz / Bibliotheken der Stadt Mainz 2009 Das Werk einschließlich aller seiner Teile ist urheberrechtlich ge- schützt. Jede Verwertung außerhalb der engen Grenzen des Urhe- berrechtsgesetzes ist ohne Zustimmung der Bibliotheken der Stadt Mainz unzulässig und strafbar. Das gilt insbesondere für Vervielfäl- tigungen jeder Art, Übersetzungen, -
The Bach Family There Has Never Been a Dynasty Like It! We Have
The Bach Family There has never been a dynasty like it! We have Johann Sebastian Bach to thank for much of the Genealogy as well. In the region of Thuringia, the name of Bach was synonymous with music, but they were also a 'family' experiencing the ups and downs of 17th & 18th century life, from happy marriages and joyful family music-making in this devoutly Lutheran community to coping with infant mortality and dysfunctional behaviour. The Bach Family encountered the lot. In this page, we visit the lives of key members of this remarkable family, a family that was humble in its intent, served the community, were appropriately deferential to their various patrons or princes, and whose music lives on through our performances today. Joh. Seb. Bach's ancestors set the tone and musical direction, but this particular family member raised the bar higher in scale and invention. Sebastian taught his own sons too, plus many of the offspring of his relatives. His eldest sons Wilhelm Friedemann and Carl Philipp Emanuel certainly held their Father in high regard, but also wanted to plough their own furrow - not easy even then. Others either held church or court positions and one travelled first to Italy and then to Georgian London in order to ply his trade - Johann Christian Bach, the youngest son. The family's ancestry goes back to the late 16th/early 17th centuries to a certain Vitus (Veit) Bach (d.1619) who left his native Hungary and came to live in Wechmar, near Gotha in Thuringia. He was a baker by trade. -
Young Genius Authentic Places Charming Festivals
Home Town Wild Years The parents of Johann Sebastian Bach, Johann Arnstadt enjoys a special status among the Bach sites Ambrosius Bach and the Erfurter Elisabeth Lämmer- in Thuringia. There is no other place with as many hirt, came from Erfurt to Eisenach in 1671, when the original venues that tell about the lives of this family father received a position there as a town musician, of musicians—sometimes long before Johann Sebastian under Johann Georg von Sachsen- Eisenach. It was Bach. He began his career as a professional organist in a very musical environment that Johann Sebastian the New Church in 1703. In Arnstadt the young man was born into on 21 March 1685. Two days later, he not only fell in love with his rst wife, he also had a was baptised here in St. George’s Church. As a boy, few escapades. For example, he extend- Bach attended the same Latin school to which Martin ed a four-week study trip to Lübeck to Luther had gone, and very probably sang there in the more than three months on his own Veit Bach Mill “chorus musicus”. But his sheltered childhood ended initiative. His organ playing also Schloss Ehrenstein early: Bach’s mother died in 1694, and nine months with a new Bach met with criticism: the parish later his father. He thus exhibition from took exception to the fre- Home of the Ancestors became a complete summer 2020 quent changes in key and orphan at the age of Apprenticeship the dissonant accompany- Wechmar is regarded as the birthplace of the Bach only ten. -
Judaica Olomucensia
Judaica Olomucensia 2015/1 Special Issue Jewish Printing Culture between Brno, Prague and Vienna in the Era of Modernization, 1750–1850 Editor-in-Chief Louise Hecht Editor Matej Grochal This issue was made possible by a grant from Palacký University, project no. IGA_FF_2014_078 Table of Content 4 Introduction Louise Hecht 11 The Lack of Sabbatian Literature: On the Censorship of Jewish Books and the True Nature of Sabbatianism in Moravia and Bohemia Miroslav Dyrčík 30 Christian Printers as Agents of Jewish Modernization? Hebrew Printing Houses in Prague, Brno and Vienna, 1780–1850 Louise Hecht 62 Eighteenth Century Yiddish Prints from Brünn/Brno as Documents of a Language Shift in Moravia Thomas Soxberger 90 Pressing Matters: Jewish vs. Christian Printing in Eighteenth Century Prague Dagmar Hudečková 110 Wolf Pascheles: The Family Treasure Box of Jewish Knowledge Kerstin Mayerhofer and Magdaléna Farnesi 136 Table of Images 2015/1 – 3 Introduction Louise Hecht Jewish Printing Culture between Brno, Prague and Vienna in the Era of Modernization, 1750–1850 The history of Jewish print and booklore has recently turned into a trendy research topic. Whereas the topic was practically non-existent two decades ago, at the last World Congress of Jewish Studies, the “Olympics” of Jewish scholarship, held in Jerusalem in August 2013, various panels were dedicated to this burgeoning field. Although the Jewish people are usually dubbed “the people of the book,” in traditional Jewish society authority is primarily based on oral transmission in the teacher-student dialog.1 Thus, the innovation and modernization process connected to print and subsequent changes in reading culture had for a long time been underrated.2 Just as in Christian society, the establishment of printing houses and the dissemination of books instigated far-reaching changes in all areas of Jewish intellectual life and finally led to the democratization of Jewish culture.3 In central Europe, the rise of publications in the Jewish vernacular, i.e. -
Geist Und Glanz Der Dresdner Gemäldegalerie
Dresden_Umschlag_070714 15.07.14 16:23 Seite 1 Geist und Glanz der Dresdner Gemäldegalerie Rund hundert Meisterwerke berühmter Künstler, darunter Carracci, van Dyck, Velázquez, Lorrain, Watteau und Canaletto, veranschau lichen Entstehen und Charakter der legendär reichen Dresdner Gemälde - galerie in Barock und Aufklärung. Im »Augusteischen Zeitalter« der sächsischen Kurfürsten und polnischen Könige August II. (1670–1733) und August III. (1696–1763), einer Zeit der wirtschaft lichen und kultu- Dr Geis rellen Blüte, dienten zahlreiche Bauprojekte und die forcierte Entwick- esdner Gemäldegal lung der königlichen Sammlungen dazu, den neuen Machtanspruch des t und Glanz der Dresdner Hofs zu demonstrieren. Damals erhielt die Stadt mit dem Bau von Hof- und Frauenkirche ihre heute noch weltberühmte Silhouette. Renommierte Maler wie der Franzose Louis de Silvestre (1675–1760) oder der Italiener Bernardo Bellotto (1722–1780) wurden als Hofkünst- ler verpflichtet. Diese lebendige und innovative Zeit bildet den Hinter- grund, vor dem die Meisterwerke ihre Geschichten erzählen. erie HIRMER WWW.HIRMERVERLAG.DE HIRMER Dresden_Inhalt_070714 07.07.14 15:30 Seite 1 Rembrandt Tizian Bellotto Dresden_Inhalt_070714 07.07.14 15:30 Seite 2 Dresden_Inhalt_070714 07.07.14 15:30 Seite 3 Rembrandt Geist und Glanz der Tizian Dresdner Gemäldegalerie Bellotto Herausgegeben von Bernhard Maaz, Ute Christina Koch und Roger Diederen HIRMER Dresden_Inhalt_070714 07.07.14 15:31 Seite 4 Dresden_Inhalt_070714 15.07.14 16:16 Seite 5 Inhalt 6 Grußwort 8 Vorwort Bernhard Maaz