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Goethe, the Japanese National Identity Through Cultural Exchange, 1889 to 1989
Jahrbuch für Internationale Germanistik pen Jahrgang LI – Heft 1 | Peter Lang, Bern | S. 57–100 Goethe, the Japanese National Identity through Cultural Exchange, 1889 to 1989 By Stefan Keppler-Tasaki and Seiko Tasaki, Tokyo Dedicated to A . Charles Muller on the occasion of his retirement from the University of Tokyo This is a study of the alleged “singular reception career”1 that Goethe experi- enced in Japan from 1889 to 1989, i. e., from the first translation of theMi gnon song to the last issues of the Neo Faust manga series . In its path, we will high- light six areas of discourse which concern the most prominent historical figures resp. figurations involved here: (1) the distinct academic schools of thought aligned with the topic “Goethe in Japan” since Kimura Kinji 木村謹治, (2) the tentative Japanification of Goethe by Thomas Mann and Gottfried Benn, (3) the recognition of the (un-)German classical writer in the circle of the Japanese national author Mori Ōgai 森鴎外, as well as Goethe’s rich resonances in (4) Japanese suicide ideals since the early days of Wertherism (Ueruteru-zumu ウェル テルヅム), (5) the Zen Buddhist theories of Nishida Kitarō 西田幾多郎 and D . T . Suzuki 鈴木大拙, and lastly (6) works of popular culture by Kurosawa Akira 黒澤明 and Tezuka Osamu 手塚治虫 . Critical appraisal of these source materials supports the thesis that the polite violence and interesting deceits of the discursive history of “Goethe, the Japanese” can mostly be traced back, other than to a form of speech in German-Japanese cultural diplomacy, to internal questions of Japanese national identity . -
Shapiro Auctions
Shapiro Auctions RUSSIAN ART AUCTION INCLUDING POSTERS & BOOKS Tuesday - June 15, 2010 RUSSIAN ART AUCTION INCLUDING POSTERS & BOOKS 1: GUBAREV ET AL USD 800 - 1,200 GUBAREV, Petr Kirillovich et al. A collection of 66 lithographs of Russian military insignia and arms, from various works, ca. 1840-1860. Of varying sizes, the majority measuring 432 x 317mm (17 x 12 1/2 in.) 2: GUBAREV ET AL USD 1,000 - 1,500 GUBAREV, Petr Kirillovich et al. A collection of 116 lithographs of Russian military standards, banners, and flags from the 18th to the mid-19th centuries, from various works, ca. 1830-1840. Of varying sizes, the majority measuring 434 x 318mm (17 1/8 x 12 1/2 in.) 3: RUSSIAN CHROMOLITHOGRAPHS, C1870 USD 1,500 - 2,000 A collection of 39 color chromolithographs of Russian military uniforms predominantly of Infantry Divisions and related Artillery Brigades, ca. 1870. Of various sizes, the majority measuring 360 x 550mm (14 1/4 x 21 5/8 in.) 4: PIRATSKII, KONSTANTIN USD 3,500 - 4,500 PIRATSKII, Konstantin. A collection of 64 color chromolithographs by Lemercier after Piratskii from Rossiskie Voiska [The Russian Armies], ca. 1870. Overall: 471 x 340mm (18 1/2 x 13 3/8 in.) 5: GUBAREV ET AL USD 1,200 - 1,500 A collection of 30 lithographs of Russian military uniforms [23 in color], including illustrations by Peter Kirillovich Gubarev et al, ca. 1840-1850. Of varying sizes, the majority measuring 400 x 285mm (15 3/4 x 11 1/4 in.), 6: DURAND, ANDRE USD 2,500 - 3,000 DURAND, André. -
Johann Georg Faust
Johann Georg Faust Dr. Johann Georg Faust (approx. 1480 – 1540) was a German alchemist who was born in the village of Knittlingen, Württemberg (it is also claimed in Roda in the province of Weimar, and also in Helmstadt near Heidelberg in 1466). He has alternatively been known by the names “Johann Sabellicus” and “Georg Faust.” In 1507, Johannes Trithemius of Sponheim wrote that Faust was a con-man and a drifter who preyed on the gullible. He said he had fled a teaching position in Kreuznach after molesting several of the boys there. He may have then gone on to the University of Heidelberg to study, obtaining a degree in divinity from Heidelberg University in 1509, and then to Poland where a friend of Martin Luther, Philip Melanchthon, says Faust studied magic at the University of Kraków. Martin Luther and Philipp Melanchthon are said to have alleged Faust’s companionship with the devil. After that, he appears at the University of Ehrfut in central Germany. It is said that when he lectured on Homer he conjured up Homer’s heroes for his students. He was expelled from Ehrfut by the Franciscan monk Dr. Klinge (who was the cathedral preacher from 1520-1556). Dr. Klinge asked for Faust’s repentance. Faust refused the monk’s offer of intervention and admitted having signed a pact with the Devil, and said that he trusted the Devil more than God. In 1523 he is said to have visited Auerbach’s Tavern in Leipzig where he conjured wine out of a table, and rode a barrel of wine. -
Nicolai Fechin [1881–1955] This Russian-American Painter Brought His Intensely Creative Spirit and Genius for Portraiture to the American West
WESTERN VISTA PERSPECTIVE: NICOLAI FECHIN [1881–1955] This Russian-American painter brought his intensely creative spirit and genius for portraiture to the American West WRITTEN BY Gussie Fauntleroy In 1895 in the Russian town of Kazan, a trading port and cultural crossroads on the wide Volga River, 13-year-old Nicolai Ivanovich Fechin stood at a crossroads in life. His father was a masterful artisan skilled in woodworking, archi- tecture, painting, gilding and cabinetry, but less adept at business, and the family had to give up their home. Nicolai’s brother and mother were mov- ing to another town to live with the boys’ grandmother, while their father would travel from village to village as an itinerant craftsman. Young Nicolai could have gone with either parent. Instead, he chose a third, and fortuitous, path. That same year, a graduate Self Portrait of the Imperial Academy of Arts in Saint Petersburg had opened a branch school in Oil on Canvas | 10.5 x 9.5 inches Kazan. It offered painting, sculpture, architecture and general education instruction Private collection to youth from families of all means, not only the wealthy. Nicolai, having spent his boyhood happily engaged in drawing and woodcarving in his father’s workshop, decided to stay in Kazan and attend the school. His father proudly approved. With a classmate, the boy moved into a disused house and subsisted on little more than bread, honey and tea while he attended the six-year school. “It was kind of a miraculous piece of providence. Without that school, Fechin would have needed either a patron or money to hire a master to teach him art, which of course his family didn’t have,” says Susan Fisher, director of the Taos Art rtMusuem Museum in New Mexico, which holds a collection of Fechin paintings, most on A aos long-term loan from private collections. -
The Jamison Galleries Collection
THE JAMISON GALLERIES COLLECTION BETTY W. AND ZEB B. CONLEY PAPERS New Mexico Museum of Art Library and Archives Dates: 1950 - 1995 Extent: 7.33 linear feet Contents Part One. Materials on Artists and Sculptors Part Two. Photographs of Works Part Three. Additional Material Revised 01/11/2018 Preliminary Comments The Jamison Galleries [hereafter referred to simply as “the Gallery”] were located on East Palace Avenue, Santa Fe, from August 1964 until January 1993, at which time it was moved to Montezuma Street. There it remained until December 1997, when it closed its doors forever. Originally owned by Margaret Jamison, it was sold by her in 1974 to Betty W. and Zeb B. Conley. The Library of the Museum of Fine Arts is indebted to the couple for the donation of this Collection. A similar collection was acquired earlier by the Library of the records of the Contemporaries Gallery. Some of the artists who exhibited their works at this Gallery also showed at The Contemporaries Gallery. Included in the works described in this collection are those of several artists whose main material is indexed in their own Collections. This collection deals with the works of a vast array of talented artists and sculptors; and together with The Contemporaries Gallery Collection, they comprise a definitive representation of southwestern art of the late 20th Century. Part One contains 207 numbered Folders. Because the contents of some are too voluminous to be limited to one folder, they have been split into lettered sub-Folders [viz. Folder 79-A, 79-B, etc.]. Each numbered Folder contains material relating to a single artist or sculptor, all arranged — and numbered — alphabetically. -
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. -
A Discussion of Goethe's Faust Part 1 Rafael Sordili, Concordia University
Sordili: Nothingness on the Move Sordili 1 Nothingness on the Move: A Discussion of Goethe's Faust Part 1 Rafael Sordili, Concordia University (Editor's note: Rafael Sordili's paper was selected for publication in the 2013 Agora because it was one of the best three presented at the ACTC Student Conference at Shimer College in Chicago in March 2013.) In the world inhabited by Faust, movement is a metaphysical fact: it is an expression of divine will over creation. There are, however, negative consequences to an existence governed by motion. The most prevalent of them is a feeling of nothingness and nihilism. This essay will discuss the relations between movement and such feelings in Goethe's Faust.1 It is my thesis that the assertion of his will to life, the acceptance of his own limitations, and the creation of new personal values are the tools that will ultimately enable Faust to escape nihilism. Metaphysics of Motion Faust lives in a world in which motion is the main force behind existence. During the Prologue in Heaven, three archangels give speeches in praise of the Creator, emphasizing how the world is in a constant state of movement. Raphael states that the movement of the Sun is a form of worship: "The sun proclaims its old devotion / [. .] / and still completes in thunderous motion / the circuits of its destined years" (246-248). For Gabriel, the rotation of the earth brings movement to all the elements upon its surface: "High cliffs stand deep in ocean weather, / wide foaming waves flood out and in, / and cliffs and seas rush on together / caught in the globe's unceasing spin" (251-258). -
On the Occasion of His Fifth Solo Exhibition at Galerie Buchholz, Artist Julian Göthe Presents a New Group of Sculptures and Works on Paper
Finding the radical illusion or “la chasse magique” On the occasion of his fifth solo exhibition at Galerie Buchholz, artist Julian Göthe presents a new group of sculptures and works on paper. The currents that must have inspired these works are as hard to intercept as they are impossible to list. “A lion made of assimilated sheep”, this is perhaps how Paul Valéry would call Göthe's oevre, having delicately fed on and digested so many inspirational references. Only clue that the artist provides is in the exhibition's title, which is also the title of a song by British musician Colin Newman – Their Terrain is track number one on the album Commercial Suicide, 1986. The last verse reads: After this, what next could be a question? Build the megalith again As for history we may be on a winner Or the chorus, it's a shame The parodic charge of Göthe's work finds here another fortunate momentum, a distinctly sardonic laughter permeates the rooms: objects become strange, undefinable “attractors.” It is with them that Göthe touches the limit of his aesthetic adventure – which is also the end of the adventure of representation. Göthe's megaliths actually resemble a Saint Laurent bow-tie; the twin sculptures could almost be a tart refraction of a Giorgio De Chirico sketch for the Faust (I'm thinking in particular of a drawing where Mephistopheles is portrayed as wearing a blond wig, and an explosive set of ostrich feathers seems to have set his hat on fire). The practice of the DeChirichian transvestment can be related to Göthe's also for its dissimulatingly serious aspect. -
Jacob Bidermann: Cenodoxus (1602, 1635)
1 Jacob Bidermann: Cenodoxus (1602, 1635) Jakob Bidermann (1578-1639) mit seiner Comico-Tragoedia „Cenodoxus. Der Doktor von Paris“ (1602, 1635 aus dem Lateinischen ins Deutsche übersetzt). Die Wirkung des lateinischen Jesuitendramas auf die Zuschauer soll so überwältigend gewesen sein, dass „nicht 100 Predigten eine solche Wirkung“ hätten erzielen können, 14 Hofleute hätten spontan dem Leben entsagt. Bidermann, der wichtigste Vertreter des Jesuitendramas im deutschsprachigen Raum, hat einige erfolgreiche Theaterstücke geschrieben, von denen wir gerade noch die Titel aus der Literaturgeschichte kennen, deren Themen aber viel aussagen über die Themen der 1. Hälfte des 17. Jahrhunderts: „Herodiados“, „Josaphat“ und „Jacobus usurarius“. Herodes als der Kindermörder von Bethlehem ist ein ebenso beliebter Stoff wie Herodes als Ehemann und Tyrann. Prinz Josaphat ist der Sohn des Buddha. Der Eremit Barlaam bekehrt ihn zum Christentum; er, Josaphat, seinen Vater auch. Als Prinz verzichtet er auf sein Königreich. Der Jacobus-Stoff gehört in die mittelalterliche literarische Tradition des Marienstoffes. Hier nimmt die katholische Gegen-reformation das durch die lutherische Reformation auf die biblische Maria reduzierte Thema wieder auf. Das Bidermannsche Drama ist Bekehrungsdrama. Bidermanns berühmtestes Theaterstück ist der lateinisch geschriebene „Cenodoxus“von 1602. Vorlage ist die Legende vom heiligen Bruno. Der heilige Bruno wird während der Seelenmesse für einen berühmten Doktor Zeuge eines Wunders. Die Leiche des Doktors erhebt sich dreimal von der Totenbahre und schreit jedesmal mit grauenvoller Stimme: „Aus gerechtem Urteil Gottes bin ich angeklagt“ und „... bin ich gerichtet“ und beim drittenmal: „Aus gerechtem Urteil Gottes bin ich verdammt“. Der Doktor heißt Cenodoxus, auf Deutsch der Ruhmsüchtige (El ávido de gloria). Nachdem Cenodoxus Wissen und Ruhm erlangt hat, will er nun Gott gleich werden. -
MAR 2020 MAR 4:00Pm: INCITEMENT 6:15Pm: FANTASTIC FUNGI Movies: 4:00Pm: MR
MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY SUNDAY Time & Space Limited Theater Co., Inc. PO Box 343 Hudson NY 12534343 PO Box Co., Inc. Space Limited Theater Time & 4 5 SEATED YOGA 6 ENGLISH NATIONAL BALLET 7 Daylight Saving Begins 8 with Richard Gilette / $10 1:00pm: Akram Khan’s GISELLE MET OPERA: LIVE IN HD 3:30–5:00pm 12:55pm: AGRIPPINA Movies: Movies: Time to Talk: 1:45pm: VITALINA VARELA Movies: 6:00pm: THE CORDILLERA NEOLIBERALISM 3:30pm: BEYOND THE VISIBLE: 1:45pm: MR. KLEIN [1976] OF DREAMS 6:15pm: Supper / 7pm: Discussion HILMA AF KLINT MAR 2020 MAR 4:00pm: INCITEMENT 6:15pm: FANTASTIC FUNGI Movies: 4:00pm: MR. KLEIN [1976] 5:45pm: BEYOND THE VISIBLE: CALENDAR OF EVENTS 7:45pm: VITALINA VARELA 6:00pm: THE CORDILLERA 5:15pm: FANTASTIC FUNGI HILMA AF KLINT OF DREAMS 2020 6:15pm: CORDILLERA OF DREAMS 6:15pm: CORDILLERA OF DREAMS 8:00pm: BEYOND THE VISIBLE: HILMA AF KLINT 7:45pm: VITALINA VARELA 7:00pm: INCITEMENT 7:30pm: BALLOON 8:00pm: BALLOON 8:00pm: VITALINA VARELA 9 10 11 12 13 MET OPERA: LIVE IN HD 14 ENGLISH NATIONAL BALLET 15 SEATED YOGA 12:55pm: DER FLIEGENDE 1:00pm: Akram Khan’s GISELLE 3:30–5:00pm HOLLÄNDER Movies: Movies: Movies: 1:15pm: IN SEARCH OF MOZART Movies: 1:45pm: FANTASTIC FUNGI 5:45pm: INCITEMENT 5:45pm: INCITEMENT 3:15pm: CORPUS CHRISTI 3:30pm: CORDILLERA OF DREAMS 6:00pm: LUCIAN FREUD: 6:00pm: LUCIAN FREUD: 3:45pm: VITALINA VARELA A SELF PORTRAIT A SELF PORTRAIT 4:00pm: BEYOND THE VISIBLE 7:45pm: CORPUS CHRISTI 7:45pm: CORPUS CHRISTI 5:15pm: BALLOON 5:30pm: BEYOND THE VISIBLE 8:00pm: BALLOON 8:00pm: -
Faust's Self-Realization from a Buddhist Perspective
FAUST'S belong to the devil. The legend spread SELF-REALIZATION to England, where an English poet, Christopher Marlowe, attracted by the FROM A BUDDHIST motive, wrote The History of Dr. PERSPECTIVE Faustus, a tragedy about a man who sells his soul to the devil. It was the English pupet show based on the Faustus Pornsan Watananguhn Jecrendo which Goethe saw in his home- town of Frankfurt when he was young 1 and which inspired him to write The Abstract Tragedy of Faust later in his life. The aim of this paper is to investigate In the opinion of most German literary the differences between "self- realiza critics, Faust reflects the autobiography tion" within Christian-western philoso of this 1:>crreat German Poet. It is believed phy and Faust's self-realization in that Goethe must have read the story of Goethe's tragedy as received and inter Faust and been impressed by the preted in a Buddhist society. Further, the anxiety of a protagonist's thirsty to know article examines in what way the author what a man can not know. The desire to Goethe shows an ironical and critical increase his self-confidence and to attitudes towards Faust's life and how confirm himself through a better can Faust be redeemed from the guilt knowledge of the cosmos and the world and set himself free from the "karma's" leads to Faust's encounter with the devil. law of cause and effect. He gradually comes to depend on the evil spirit. Goethe started to compose Faust's Self-realization from a the Tragedy of Faust when he was 20 Buddhist Perspective during the literary period of "Storm and Stress" in the 18th century and In the 1 sth century, a young boy named completed this lifework, with many Johann Wolfgang Goethe found a small intervals, at the age of 82. -
The Institute of Modern Russian Culture
THE INSTITUTE OF MODERN RUSSIAN CULTURE AT BLUE LAGOON NEWSLETTER No. 53, February, 2007 IMRC, Mail Code 4353, USC, Los Angeles, Ca. 90089-4353, USA Tel.: (213) 740-2735 Fax: (213) 740-8550; E: [email protected] website: http://www.usc.edu./dept/LAS/IMRC STATUS This is the fifty-third biannual Newsletter of the IMRC and follows the last issue which appeared in August, 2006. The information presented here relates primarily to events connected with the IMRC during the fall and winter of 2006. For the benefit of new readers, data on the present structure of the IMRC are given on the last page of this issue. IMRC Newsletters for 1979-2005 are available electronically and can be requested via e-mail at [email protected]. A full run can also be supplied on a CD disc (containing a searchable version in Microsoft Word) at a cost of $25.00, shipping included (add $5.00 if overseas airmail). In August, 2004, the IMRC transferred the Newsletter to an electronic format and individuals and institutions on our courtesy list are receiving the issues as an e-attachment. Members in full standing, however, continue to receive hard copies of the Newsletter as well as the text in electronic format, wherever feasible. Please send us new and corrected e-mail addresses. An illustrated brochure describing the programs, collections, and functions of the IMRC is also available RUSSIA One of the most encouraging things about the brash new Russia is that the more she changes, the more she stays the same or, rather, the more she withdraws into the darker age of her time of troubles.