Richard Wagner
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A Many-Storied Place
A Many-storied Place Historic Resource Study Arkansas Post National Memorial, Arkansas Theodore Catton Principal Investigator Midwest Region National Park Service Omaha, Nebraska 2017 A Many-Storied Place Historic Resource Study Arkansas Post National Memorial, Arkansas Theodore Catton Principal Investigator 2017 Recommended: {){ Superintendent, Arkansas Post AihV'j Concurred: Associate Regional Director, Cultural Resources, Midwest Region Date Approved: Date Remove not the ancient landmark which thy fathers have set. Proverbs 22:28 Words spoken by Regional Director Elbert Cox Arkansas Post National Memorial dedication June 23, 1964 Table of Contents List of Figures vii Introduction 1 1 – Geography and the River 4 2 – The Site in Antiquity and Quapaw Ethnogenesis 38 3 – A French and Spanish Outpost in Colonial America 72 4 – Osotouy and the Changing Native World 115 5 – Arkansas Post from the Louisiana Purchase to the Trail of Tears 141 6 – The River Port from Arkansas Statehood to the Civil War 179 7 – The Village and Environs from Reconstruction to Recent Times 209 Conclusion 237 Appendices 241 1 – Cultural Resource Base Map: Eight exhibits from the Memorial Unit CLR (a) Pre-1673 / Pre-Contact Period Contributing Features (b) 1673-1803 / Colonial and Revolutionary Period Contributing Features (c) 1804-1855 / Settlement and Early Statehood Period Contributing Features (d) 1856-1865 / Civil War Period Contributing Features (e) 1866-1928 / Late 19th and Early 20th Century Period Contributing Features (f) 1929-1963 / Early 20th Century Period -
Class, Nation and the Folk in the Works of Gustav Freytag (1816-1895)
Private Lives and Collective Destinies: Class, Nation and the Folk in the Works of Gustav Freytag (1816-1895) Dissertation submitted for the degree of Doctor of Philosophy Benedict Keble Schofield Department of Germanic Studies University of Sheffield June 2009 Contents Abstract v Acknowledgements vi 1 Introduction 1 1.1 Literature and Tendenz in the mid-19th Century 1 1.2 Gustav Freytag: a Literary-Political Life 2 1.2.1 Freytag's Life and Works 2 1.2.2 Critical Responses to Freytag 4 1.3 Conceptual Frameworks and Core Terminology 10 1.4 Editions and Sources 1 1 1.4.1 The Gesammelte Werke 1 1 1.4.2 The Erinnerungen aus meinem Leben 12 1.4.3 Letters, Manuscripts and Archival Material 13 1.5 Structure of the Thesis 14 2 Political and Aesthetic Trends in Gustav Freytag's Vormiirz Poetry 17 2.1 Introduction: the Path to Poetry 17 2.2 In Breslau (1845) 18 2.2.1 In Breslau: Context, Composition and Theme 18 2.2.2 Politically Responsive Poetry 24 2.2.3 Domestic and Narrative Poetry 34 2.2.4 Poetic Imagination and Political Engagement 40 2.3 Conclusion: Early Concerns and Future Patterns 44 3 Gustav Freytag's Theatrical Practice in the 1840s: the Vormiirz Dramas 46 3.1 Introduction: from Poetry to Drama 46 3.2 Die Brautfahrt, oder Kunz von der Rosen (1841) 48 3.2.1 Die Brautfahrt: Context, Composition and Theme 48 3.2.2 The Hoftheater Competition of 1841: Die Brautfahrt as Comedy 50 3.2.3 Manipulating the Past: the Historical Background to Die Brautfahrt 53 3.2.4 The Question of Dramatic Hero: the Function ofKunz 57 3.2.5 Sub-Conclusion: Die -
The Ring Sample Lesson Plan: Wagner and Women **Please Note That This Lesson Works Best Post-Show
The Ring Sample Lesson Plan: Wagner and Women **Please note that this lesson works best post-show Educator should choose which female character to focus on based on the opera(s) the group has attended. See below for the list of female characters in each opera: Das Rheingold: Fricka, Erda, Freia Die Walküre: Brunhilde, Sieglinde, Fricka Siegfried: Brunhilde, Erda Götterdämmerung: Brunhilde, Gutrune GRADE LEVELS 6-12 TIMING 1-2 periods PRIOR KNOWLEDGE Educator should be somewhat familiar with the female characters of the Ring AIM OF LESSON Compare and contrast the actual women in Wagner’s life to the female characters he created in the Ring OBJECTIVES To explore the female characters in the Ring by studying Wagner’s relationship with the women in his life CURRICULAR Language Arts CONNECTIONS History and Social Studies MATERIALS Computer and internet access. Some preliminary resources listed below: Brunhilde in the “Ring”: (https://en.wikipedia.org/wiki/Brynhildr#Wagner's_%22Ring%22_cycle) First wife Minna Planer: (https://en.wikipedia.org/wiki/Minna_Planer) o Themes: turbulence, infidelity, frustration Mistress Mathilde Wesendonck: (https://en.wikipedia.org/wiki/Mathilde_Wesendonck) o Themes: infatuation, deep romantic attachment that’s doomed, unrequited love Second wife Cosima Wagner: (https://en.wikipedia.org/wiki/Cosima_Wagner) o Themes: devotion to Wagner and his works; Wagner’s muse Wagner’s relationship with his mother: (https://www.thefamouspeople.com/profiles/richard-wagner-392.php) o Theme: mistrust NATIONAL CCSS.ELA-LITERACY.RL.7.9 STANDARDS/ Compare and contrast a fictional portrayal of a time, place, or character and a STATE STANDARDS historical account of the same period as a means of understanding how authors of fiction use or alter history. -
Assenet Inlays Cycle Ring Wagner OE
OE Wagner Ring Cycle Booklet 10-8-7:Layout 2 13/8/07 11:07 Page 1 An Introduction to... OPERAEXPLAINED WAGNER The Ring of the Nibelung Written and read by Stephen Johnson 2 CDs 8.558184–85 OE Wagner Ring Cycle Booklet 10-8-7:Layout 2 13/8/07 11:07 Page 2 An Introduction to... WAGNER The Ring of the Nibelung Written and read by Stephen Johnson CD 1 1 Introduction 1:11 2 The Stuff of Legends 6:29 3 Dark Power? 4:38 4 Revolution in Music 2:57 5 A New Kind of Song 6:45 6 The Role of the Orchestra 7:11 7 The Leitmotif 5:12 Das Rheingold 8 Prelude 4:29 9 Scene 1 4:43 10 Scene 2 6:20 11 Scene 3 4:09 12 Scene 4 8:42 2 OE Wagner Ring Cycle Booklet 10-8-7:Layout 2 13/8/07 11:07 Page 3 Die Walküre 13 Background 0:58 14 Act I 10:54 15 Act II 4:48 TT 79:34 CD 2 1 Act II cont. 3:37 2 Act III 3:53 3 The Final Scene: Wotan and Brünnhilde 6:51 Siegfried 4 Act I 9:05 5 Act II 7:25 6 Act III 12:16 Götterdämmerung 7 Background 2:05 8 Prologue 8:04 9 Act I 5:39 10 Act II 4:58 11 Act III 4:27 12 The Final Scene: The End of Everything? 11:09 TT 79:35 3 OE Wagner Ring Cycle Booklet 10-8-7:Layout 2 13/8/07 11:07 Page 4 Music taken from: Das Rheingold – 8.660170–71 Wotan ...............................................................Wolfgang Probst Froh...............................................................Bernhard Schneider Donner ....................................................................Motti Kastón Loge........................................................................Robert Künzli Fricka...............................................................Michaela -
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. -
WAGNER and the VOLSUNGS None of Wagner’S Works Is More Closely Linked with Old Norse, and More Especially Old Icelandic, Culture
WAGNER AND THE VOLSUNGS None of Wagner’s works is more closely linked with Old Norse, and more especially Old Icelandic, culture. It would be carrying coals to Newcastle if I tried to go further into the significance of the incom- parable eddic poems. I will just mention that on my first visit to Iceland I was allowed to gaze on the actual manuscript, even to leaf through it . It is worth noting that Richard Wagner possessed in his library the same Icelandic–German dictionary that is still used today. His copy bears clear signs of use. This also bears witness to his search for the meaning and essence of the genuinely mythical, its very foundation. Wolfgang Wagner Introduction to the program of the production of the Ring in Reykjavik, 1994 Selma Gu›mundsdóttir, president of Richard-Wagner-Félagi› á Íslandi, pre- senting Wolfgang Wagner with a facsimile edition of the Codex Regius of the Poetic Edda on his eightieth birthday in Bayreuth, August 1999. Árni Björnsson Wagner and the Volsungs Icelandic Sources of Der Ring des Nibelungen Viking Society for Northern Research University College London 2003 © Árni Björnsson ISBN 978 0 903521 55 0 The cover illustration is of the eruption of Krafla, January 1981 (Photograph: Ómar Ragnarsson), and Wagner in 1871 (after an oil painting by Franz von Lenbach; cf. p. 51). Cover design by Augl‡singastofa Skaparans, Reykjavík. Printed by Short Run Press Limited, Exeter CONTENTS PREFACE ............................................................................................ 6 INTRODUCTION ............................................................................... 7 BRIEF BIOGRAPHY OF RICHARD WAGNER ............................ 17 CHRONOLOGY ............................................................................... 64 DEVELOPMENT OF GERMAN NATIONAL CONSCIOUSNESS ..68 ICELANDIC STUDIES IN GERMANY ......................................... -
SOMMARIO Una Premessa Sul Puro Umano E Wagner Oggi Il Puro
SOMMARIO L'ONTOLOGIA DELL'UMANO Una premessa sul puro umano e Wagner oggi Il puro umano VII L'intreccio XVII Wagner oggi XX RICHARD WAGNER LA POETICA DEL PURO UMANO A PARIGI: BERLIOZ, LISZT, WAGNER Un intreccio affascinante La malinconia dell'essere: la poetica della Romantik 3 La cultura musicale nella Parigi degli anni Trenta, una fìtta trama di relazioni 16 Berlioz, emancipazione del parametro timbrico 33 Liszt e Chopin, ricerca strumentale e compositiva 45 Wagner, «Un musicista tedesco a Parigi» 71 IN GERMANIA, LA POETICA DEL PURO UMANO Trame di passione Le composizioni strumentali giovanili 101 Mendelssohn e gli Schumann, incomprensioni e polemiche 123 I primi abbozzi teatrali e Le fate 133 II divieto d'amare, «Canto, canto e ancora canto, o tedeschi!» 144 Rienzi, «Armi», «Bandiere», «Onore», «Libertà» 153 L'Olandese volante, «Ah! Superbo oceano!» 170 http://d-nb.info/1024420035 Tannhàuser, «Potete voi tutti scoprirmi la natura dell'amore?» 196 Lohengrin, «Mai non dovrai domandarmi» 222 I Wibelunghi, i moti rivoluzionari, L'arte e la rivoluzione, Gesù di Nazareth 2S3 SCHOPENHAUER E LE «DIVINE PARTITURE» Gli scritti e i capolavori L'arrivo in Svizzera, Wieland il fabbro, Liszt, i brani pianistici, Berlioz 269 L'opera d'arte dell'avvenire, Il giudaismo nella musica, Opera e dramma, Una comunicazione ai miei amici 290 Schopenhauer, «Mi sentii subito profondamente attratto» 314 Wesendonck-Lieder, Parigi, Rossini, Ludwig II 322 Tristan, «Naufragare / affondare / inconsapevolmente / suprema letizia!» 359 Il libro bruno, La mia vita, Il -
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. -
Wagner in the "Cult of Art in Nazi Germany"
Loyola University Chicago Loyola eCommons History: Faculty Publications and Other Works Faculty Publications 2-1-2013 Wagner in the "Cult of Art in Nazi Germany" David B. Dennis Loyola University Chicago, [email protected] Follow this and additional works at: https://ecommons.luc.edu/history_facpubs Part of the History Commons Author Manuscript This is a pre-publication author manuscript of the final, published article. Recommended Citation Dennis, David B.. Wagner in the "Cult of Art in Nazi Germany". WWW2013: Wagner World Wide (marking the Wagner’s bicentennial) at the University of South Carolina, Columbia, SC, , : , 2013. Retrieved from Loyola eCommons, History: Faculty Publications and Other Works, This Conference Proceeding is brought to you for free and open access by the Faculty Publications at Loyola eCommons. It has been accepted for inclusion in History: 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. © David B. Dennis 2013 Richard Wagner in the “Cult of Art” of Nazi Germany A Paper for the Wagner Worldwide 2013 Conference University of South Carolina, Columbia, SC January 30-February 2, 2013 David B. Dennis Professor of History Loyola University Chicago In his book on aesthetics and Nazi politics, translated in 2004 as The Cult of Art in Nazi Germany, Eric Michaud, Director of Studies at the École des Hautes Études en Sciences Sociales in Paris, wrote that National Socialist attention to the arts was intended “to present the broken [German] Volk with an image of its ‘eternal Geist’ and to hold up to it a mirror capable of restoring to it the strength to love itself.” 1 I came upon this, among other ideas of Michaud, when preparing the conceptual framework for my own book, Inhumanities: Nazi Interpretations of Western Culture, just released by Cambridge University Press. -
Richard Wagner German Romantic Era Opera Composer (1813-1883)
Hey Kids, Meet Richard Wagner German Romantic Era Opera Composer (1813-1883) Richard Wagner was born in Leipzig, Germany, on May 22, 1813. He was the ninth son of Carl Friedrich Wagner and Johanna Rosine. Richard's father died of typhus six months after his birth. His mother then married painter, actor, and poet, Ludwig Geyer, and the family moved to Dresden. Richard took an interest in the plays in which his step- father performed, and Richard sometimes even partici- pated in the plays alongside of him. In late 1820, Richard received some piano instruction from a Latin teacher. As a teen, Richard's teacher said that he would "torture the piano in a most abominable fashion." Despite what his teacher thought, Richard enjoyed playing the piano, and began to compose music as a teenager. In 1831, he attended Leipzig University. He was impacted greatly by famous musicians, such as Beethoven, Mozart, and Wilhelmine Schröder-Devrient. In 1833 Wagner became a choir master in Würzburg, Germany. Within a year of obtaining this position, Wagner composed his first opera, Die Feen (The Fairies). This opera was not performed until after his death. Between 1857-1864, he wrote the opera Tristan and Isolde, a tragic love story. Many musi- cians consider Tristan and Isolde to be the beginning of modern classical music. Because of Wagner's strong political views and his poor money management, Wagner had to move often, moving to Russia, France, Switzerland, and then back to Germany. Even though his life was turbulent, he produced some of his most famous works during this time. -
Chytry POEM'e'
MANAGER AS ARTIST Dégot ‘APHRODISIAN BLISS’ Chytry POEM‘E’: MANAGING ‘ENGAGEMENT’ Guimarães-Costa & Pina e Cunha PERIPHERAL AWARENESS Chia & Holt FUNKY proJECts Garcia and Pérez AesthetiCS OF Emptiness Biehl POETRY PLAY Darmer, Grisoni, James & Rossi Bouchrara WORKPLACE proJECts James DVD DRAMA Taylor AVANT GARDE ORGANIZATION Vickery Aesthesis//Create International journal of art and aesthetics in management and organizational life and organizational International journal of art and aesthetics in management Volume 1//TWO: 2007 AESTHESIS: International Journal of Art and Aesthetics in Management and Organizational Life EditorS Ian W. King, Essex Management Centre, University of Essex, Colchester, UK Jonathan Vickery, Centre for Cultural Policy Studies, University of Warwick, Coventry, UK Ceri Watkins, Essex Management Centre, University of Essex, Colchester, UK Editorial coordiNator Jane Malabar [email protected] Editorial AdviSORY Board Dawn Ades, University of Essex, UK Daved Barry, Universidade Nova de Lisboa, Portugual Jo Caust, University of South Australia, Editor, Asia Pacific Journal of Arts and Cultural Management Pierre Guillet de Monthoux, University of Stockholm, Sweden Laurie Heizler, Wright Hassallthe LLP, Leamington Spa, UK Stephen Linstead, University of York, UK Nick Nissley, The Banff Centre, Canada Antonio Strati, University of Trento and University of Siena, Italy Steve Taylor, Worcester PolytechnicAes Institute, USA thesis This journal is published by THE AESTHESIS ProjEct: The Aesthesis Project was founded in January 2007 and is a research project investigatingproject art and aesthetics in management and organizational contexts. The project has its roots in the first Art of Management and Organization Conference in London in 2002, with successive conferences held in Paris and Krakow. From those events emerged an international network of academics, writers, artists, consultants and managers, all involved in exploring and experimenting with art in the context of management and organizational research. -
Calderon-Schopenhauer-Wagner: Historia De Un Malentendido *
CALDERON-SCHOPENHAUER-WAGNER: HISTORIA DE UN MALENTENDIDO * La noche del 2 de enero de 1869 Wagner y Cosima von Bülow, no casados todavla, escudriíían en su biblioteca, en Tribschen, en busca de algo para leer después de la cena. Según Cosima, descartan a Platón: el libro está en malas condiciones y necesita ser encuadernado de nuevo. Walbnstein de Schiller también es pasado por alto, pues lo habían leído pocas semanas antes. Una obra del dramaturgo español Pedro Calderón de la Barca (16001681) es rechazada como "demasiado sentimental" ("pathetisch"). Shakespeare también es dejado a un lado, y, finalmente, los dos se deciden por algunos pasajes de la Odisea (1, pág. 29) l. Cinco semanas más tarde, el 11 de febrero de 1869, Calderón entra en el diario de Cosima, con una aguda intuición del mismo Wagner, idea directamente relacionada con Parsifal, todavía en el fondo de su sub- consciente, esperando a ser compuesta unos nueve años después: "Ha- blamos mucho acerca de Calderón. R. hace hincapié especial en cómo en los dramas [de Calderón], después que los personajes han literal- * Una versión previa apareció en "The Musical Quarterly", invierno de 1982. 1. La anotación entre paréntesis corresponde al volumen y a la pagina de los Diarios de Cosima Wsgner, en la traduccibn de Geoffrey Skelton: vd. 1: 1869-1877 (Nueva York. 1978); val. 11: 1878-1883 (Nueva York, 1980). Agradezco el consejo y la ayuda del profesor Henry W. Sullivan, de la Universidad de Ottawa, cuyo estudio Calderdn fn Gennany: hia recsptian on the Gemiony skzge and influence on the theory and prnctice of Germnn poehy esta achialmente en piensa.