Wurzeln Die Mittelalterlichen Germanischen Großsagen Im
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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 -
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 ......................................... -
Old Norse Mythology and the Ring of the Nibelung
Declaration in lieu of oath: I, Erik Schjeide born on: July 27, 1954 in: Santa Monica, California declare, that I produced this Master Thesis by myself and did not use any sources and resources other than the ones stated and that I did not have any other illegal help, that this Master Thesis has not been presented for examination at any other national or international institution in any shape or form, and that, if this Master Thesis has anything to do with my current employer, I have informed them and asked their permission. Arcata, California, June 15, 2008, Old Norse Mythology and The Ring of the Nibelung Master Thesis zur Erlangung des akademischen Grades “Master of Fine Arts (MFA) New Media” Universitätslehrgang “Master of Fine Arts in New Media” eingereicht am Department für Interaktive Medien und Bildungstechnologien Donau-Universität Krems von Erik Schjeide Krems, July 2008 Betreuer/Betreuerin: Carolyn Guertin Table of Contents I. Abstract 1 II. Introduction 3 III. Wagner’s sources 7 IV. Wagner’s background and The Ring 17 V. Das Rheingold: Mythological beginnings 25 VI. Die Walküre: Odin’s intervention in worldly affairs 34 VII. Siegfried: The hero’s journey 43 VIII. Götterdämmerung: Twilight of the gods 53 IX. Conclusion 65 X. Sources 67 Appendix I: The Psychic Life Cycle as described by Edward Edinger 68 Appendix II: Noteworthy Old Norse mythical deities 69 Appendix III: Noteworthy names in The Volsung Saga 70 Appendix IV: Summary of The Thidrek Saga 72 Old Norse Mythology and The Ring of the Nibelung I. Abstract As an MFA student in New Media, I am creating stop-motion animated short films. -
Handschrift B
WW 1/2004 Gerhardt, Kriemhilds Ende 7 Kriemhilds Ende in der ,NibeIungenlied'-Handschrift b Von Christoph Gerhardt I. In der ehemaligen Hundeshagenschen Berliner ,Nibelungenlied'-Handschrift (b) aus Ostschwaben (Augsburg), um 1436 bis 1442,' finden sich zwei Interpolationen. Die eine von ihnen hat in jüngster Zeit einige Aufmerksamkeit auf sich gezogen im Zusam menhang mit der vor kurzem erstmals vollständig veröffentlichten Darmstädter ,Nibe- lungenlied'-Handschrift (n).2 Den Inhalt der 23 Strophen analysiert Göhler ausführlich und zeigt, dass die kurz vor dem endgültigen Burgundenuntergang spielende Szene z.T. bereits Gesagtes variiert, neue Akzente setzt, aber auch ganz neue erzählerische Ele mente bringt, also eine eigenständige Erzählsequenz darstellt. Um die andere Erweite rung ist es vergleichsweise in letzter Zeit ziemlich still geblieben; sie betrifft Kriemhilds Ende.3 Zunächst sei diese ,Nibelungenlied'-Interpolation besprochen, danach soll sie neben weitere vergleichbare Episoden gestellt werden; abschließend will ich eine These über die Herkunft des Zusatzes aufstellen und aus ihr einige allgemeine Bemerkungen ablei ten. 1 S. Bibliographie zum Nibelungenlied und zur Klage v. Willy Krogmann/Ulrich Pretzel, 4. stark erweiterte Aufl. unter redaktioneller Mitarbeit v. Herta Haas/Wolfgang Bachofer (Bibliographien z. dt. Lit. d. Mittelalters 1), Berlin 1966, S. 18f. Zur Problematik der Datierung s. Theodor Abeling, Das Nibelungenlied und seine Literatur. Eine Bibliographie und vier Abhandlungen (Teutonia 7), Leipzig 1907, S. 182. 2 S. Eine spätmittelalterliche Fassung des Nibelungenliedes. Die Handschrift 4257 der Hessischen Landes- und Hochschulbibliothek Darmstadt, hrsg. und eingeleitet von Peter Göhler (Philologica Germanica 21), Wien 1999, bes. S. 18Ff., 160-163; Das Nibelungenlied nach der Handschrift n. Hs. 4257 der Hessischen Landes- und Hochschulbibliothek, hrsg. -
From Iron Age Myth to Idealized National Landscape: Human-Nature Relationships and Environmental Racism in Fritz Lang’S Die Nibelungen
FROM IRON AGE MYTH TO IDEALIZED NATIONAL LANDSCAPE: HUMAN-NATURE RELATIONSHIPS AND ENVIRONMENTAL RACISM IN FRITZ LANG’S DIE NIBELUNGEN Susan Power Bratton Whitworth College Abstract From the Iron Age to the modern period, authors have repeatedly restructured the ecomythology of the Siegfried saga. Fritz Lang’s Weimar lm production (released in 1924-1925) of Die Nibelungen presents an ascendant humanist Siegfried, who dom- inates over nature in his dragon slaying. Lang removes the strong family relation- ships typical of earlier versions, and portrays Siegfried as a son of the German landscape rather than of an aristocratic, human lineage. Unlike The Saga of the Volsungs, which casts the dwarf Andvari as a shape-shifting sh, and thereby indis- tinguishable from productive, living nature, both Richard Wagner and Lang create dwarves who live in subterranean or inorganic habitats, and use environmental ideals to convey anti-Semitic images, including negative contrasts between Jewish stereo- types and healthy or organic nature. Lang’s Siegfried is a technocrat, who, rather than receiving a magic sword from mystic sources, begins the lm by fashioning his own. Admired by Adolf Hitler, Die Nibelungen idealizes the material and the organic in a way that allows the modern “hero” to romanticize himself and, with- out the aid of deities, to become superhuman. Introduction As one of the great gures of Weimar German cinema, Fritz Lang directed an astonishing variety of lms, ranging from the thriller, M, to the urban critique, Metropolis. 1 Of all Lang’s silent lms, his two part interpretation of Das Nibelungenlied: Siegfried’s Tod, lmed in 1922, and Kriemhilds Rache, lmed in 1923,2 had the greatest impression on National Socialist leaders, including Adolf Hitler. -
Gotterdammerung Synopsis
Richard Wagner’s Götterdämmerung SYNOPSIS Prologue On the Valkyries’ rock. Three Norns, daughters of Erda, spin the golden rope of world knowledge, once tied to the World Ash Tree, which was desecrated by Wotan when he used it to make his spear, thereby establishing his rule over the universe. Though the Norns try to keep the rope taut, it snaps—breaking the connection between past and future—and as the Norns’ primeval wisdom comes to an end, the downfall of the gods becomes imminent. Siegfried and Brünnhilde, leading her horse Grane, emerge from a cave. Brünnhilde comments that her love for Siegfried would be false if she kept him from performing new heroic deeds and the couple exchanges gifts to signify their fidelity. Brünnhilde gives Siegfried Grane and Siegfried departs to pursue his heroic destiny, after putting the Ring of the Nibelung on her finger. Act I The hall of Gunther’s court on the Rhine. Alberich’s bastard son, Hagen, plots to regain the ring for his father. His legitimate half-siblings and the leaders of the Gibichungs, Gunther and Gutrune, have inherited the kingdom and Hagen advises them that they each must marry immediately in order to retain the respect of their subjects. Hagen suggests that Gunther marry Brünnhilde and that Gutrune marry Siegfried. Though interested, the siblings seem skeptical, and Hagen outlines his plan to supply Gutrune with an amnesiac potion which she will give to Siegfried to make him forget his past—including Brünnhilde. Once Gutrune has seduced the hero, they will convince him to woo Brünnhilde on Gunther’s behalf. -
Chronologie Der Nibelungenrezeption
1 Die literarische Rezeption des Nibelungenstoffes Stand: 18. 2. 2008 Zusammengestellt von Gunter E. Grimm Die Bibliographie enthält Titel aus der sogenannten ‚produktiven’ Rezeption des Nibelungen-Sagenkreises, also belletristische Werke (Versepen, Romane, Erzählungen, Dramen, Festspiele, Balladen, Gedichte, Parodien). Die mit * versehenen Titel sind im Rahmen des Internetportals www.nibelungenrezeption.de bereits ins Netz gestellt. Die deutschsprachigen Titel sind recte, die fremdsprachigen Texte kursiv gesetzt. In blauer Schrift sind die in Auswahl genannten wichtigen wissenschaftlichen Schriften wiedergegeben. Nacherzählungen und Kinderbücher sind nur in Ausnahmefällen aufgenommen. Die Betreiber dieser Internetseite sind immer dankbar für Nennung weiterer einschlägiger Werk-Titel und – da nicht in jedem Fall die Autopsie der Werke möglich war – für Verbesserungen der bibliographischen Angaben. Email-Adresse: [email protected] Geschichte Jahr Quellen & Texte Altertum Tod des Cheruskerkönigs Arminius 19. o. 21 n. Quelle: v.a. Tacitus: „Annales” (Jahrbücher), 2. Buch (Hermann der Cherusker) Chr. Zerstörung des rheinischen Burgun- 436 n. Chr. Quelle: v.a. Gregor von Tours: „Decem libri historiarum“ (Zehn denreichs (des Königs Gundahar) Bücher Geschichten) durch hunnische Hilfstruppen des römischen Heermeisters Flavius Aëtius Tod des Hunnenkönigs Attila (reg. 453 n. Chr. Quelle: Jordanes: „De origine actibusque Getarum“ oder„Getica“ ab 434), altnord. Atli, mhd. Etzel, (Über den Ursprung und die Taten der Goten) angeblich in der Hochzeitsnacht mit der Gotin Ildicó („Hildchen“) Vor 516 „Lex Burgundionum“ (Erwähnung der Namen Gundahari, Gibica, Godomar, Gislahari Theoderich der Große (471-526), der 526 n. Chr. Quelle: Jordanes: „De origine actibusque Getarum“ „Dietrich von Bern“ der Sage Ermordung Sigiberts von Austrasien, 575 n. Chr. Quelle: Gregor von Tours: „Decem libri historiarum“ (Zehn Bücher verheiratet mit der Westgotin Geschichten); „Fredegar-Chronik“. -
The Anti-Semitic Intention of the Ring of the Nibelung
The Anti-Semitic Intention of The Ring of the Nibelung: An Evaluation of Jewish Culture and Wagner’s Dwarven Characters Through his own notes and letters, the anti-Semitic beliefs of composer Richard Wagner are both articulate and vehement. Almost all interpretations of his character come from these writings, but insight into his compositions reveals that his personal holdings are manifest there as well. The works of Wagner are orchestrated to be seen through a perspective consistent with his personal prejudices against Jews. The purpose of this essay is to draw from the Ring of the Nibelung, a plausible allegory of the prejudices held against Jewish culture (of historical and social pertinence) as embodied in Wagner’s dwarven characters, Alberich and Mime. Intentionally excluded is application of music theory, while examined are Wagner’s previous drafts, notes and letters. Evidence from outside sources is collaborated with the text and stage directions found in Andrew Porter’s English translation of The Ring of the Nibelung. The root of anti-Semitism is believed theological, stemming from the statement made by the Jewish rabble demanding Jesus’ death: “His blood be on us and on our children,” Mt 27: 25. It was however, not the Jews of the Old and New Testament from which European prejudices emerged, but rather from those living in Europe at the time of the Holy Roman Empire during the reign of Constantine. Many found a curious and necessary place in society as doctors and moneylenders, the latter due to the prohibitions against usury leveled at Christians by the Church. -
Das Nibelungenlied Lehrmaterial Ab Klassenstufe 7
Das Nibelungenlied Lehrmaterial ab Klassenstufe 7 1 Inhalt Einführung Historischer Hintergrund Inhalt des Liedes Der unbekannte Dichter Überlieferung Figuren Konflikte Das Nibelungenlied im 20. Jahrhundert Weiterführende Links Quellen Impressum 2 Einführung Liebe, Treue, Eifersucht, Betrug – der Stoff aus dem spannende Liebesfilme oder dramatische Seifenopern gemacht sind. Wer hat noch nie von „Gute Zeiten, schlechte Zeiten“ oder „Titanic“ gehört? Doch auch schon vor über 800 Jahren gehörten diese Themen zur höfischen Unterhaltung. Das Nibelungenlied, eine Sage über heldenhafte Männer und liebende Frauen – oder auch hinterhältige Männer und rachsüchtige Frauen, befasst sich mit den gleichen Inhalten wie die Serien und Filme unserer Zeit. 3 Historischer Hintergrund Zwei historische Ebenen Das Nibelungenlied spielt auf zwei verschiedenen historischen Ebenen. Der Untergang der Burgunder, mit dem das Lied endet, reicht noch in die Zeit der Völkerwanderung im 5. Jahrhundert zurück. Das Lied wurde aber für die höfische Gesellschaft im Mittelalter um 1200 verfasst und daher an sie angepasst. Das sieht man an der Beschreibung der Hofgesellschaft, der Lehnsbindung, des gesellschaftlichen Umfeldes, insbesondere des höfischen Zeremoniells, der Rituale und der Kleider. Das mittelalterliche Lehnswesen Das mittelalterliche Lehnswesen der Stauferzeit ist wie das germanische Gefolgschaftswesen durch ein Treueverhältnis gekennzeichnet: Ein Treueverhältnis auf Gegenseitigkeit zwischen Lehnsherrn und Lehnsmann. Der Lehnsherr verpflichtete sich, dem Lehnsempfänger „Schutz und Schirm“ zu geben, während der Lehnsempfänger dem Lehnsherrn Dienste leistet, vor allem Kriegsdienst sowie Rat und Hilfe in Form verschiedener Dienste, wie z. B. auch das Halten des Steigbügels, die Begleitung bei festlichen Anlässen und der Dienst als Mundschenk bei der Festtafel. Der oberste Lehnsherr war der Kaiser oder König. Er vergab Lehen an die Fürsten. -
Dresdner Heldenbuch‘
Universität Stuttgart Institut für Literaturwissenschaft Abteilung für Germanistische Mediävistik Betreuer: Prof. Dr. Manuel Braun Wissenschaftliche Arbeit für das Lehramt an Gymnasien (WPO) Abgabetermin: 15.01.2015 Von kundern, risen und teuffellichen man – Monsterdarstellungen im ‚Dresdner Heldenbuch‘ von Nora Echelmeyer Studienfächer: Deutsch, Französisch Fachsemester: 10 FS, 10 FS Matrikelnummer: 2559397 Anschrift: Finkenweg 13 70839 Gerlingen Kontakt: [email protected] Inhaltsverzeichnis 1. Themenstellung und Aufbau der Arbeit ................................................................ S. 2 2. Grundlagen der Arbeit............................................................................................. S. 5 2.1. Begriffsbestimmungen ........................................................................................ S. 5 2.1.1. Das „Monstrum“ .......................................................................................... S. 5 2.1.2. Inszenierung, Wahrnehmung und Wirkung von Monstrosität .................. S. 11 2.2. Monstren in der Forschung................................................................................ S. 13 2.3. Das ‚Dresdner Heldenbuch‘ .............................................................................. S. 18 3. Monsterdarstellungen im ‚Dresdner Heldenbuch‘.............................................. S. 20 3.1. Das äußere Erscheinungsbild ............................................................................ S. 20 3.1.1. Typische Erscheinungsmerkmale von -
Read Book the Legend of Sigurd and Gudrun
THE LEGEND OF SIGURD AND GUDRUN PDF, EPUB, EBOOK J. R. R. Tolkien,Christopher Tolkien | 384 pages | 01 Apr 2010 | HarperCollins Publishers | 9780007317240 | English | London, United Kingdom The Legend of Sigurd and Gudrun PDF Book Tolkien than J. My expectations were very neutral before reading. Hartman has recently suggested that the late Old English poem The Battle of Brunanburh may have used ponderous verse— types in much the same way , It is not so jumpy that it puts off an informed reader. His use of this device is much like in the Fall of Arthur, though in this poem he uses it slightly less frequently, 26 and crossed alliteration is somewhat rarer in general. Neckel, Gustav, ed. Grimhild advises her daughter to mourn no longer, commenting that Brynhild is dead and that Gudrun is still beautiful. Which I don't have, since my education lacked things like the "Nibelungenlied", which is apparently similar. Some of the differences and similarities between Gudrun and Kriemhild in the Scandinavian and continental Germanic traditions can be seen in the following two stanzas taken from original sources. Das Nibelungenlied und die Klage. It should not be forgotten that Tolkien was an Oxford don more than he was a professional writer, and this translation of a long, turgid Norse saga is a scholarly work, that if it didn't have JRRT's name on the cover would probably only be read by a few intellectuals. Some of the biggest books out this fall promise to be epics full of magic, adventure, However, type E was nowhere near so rare for Tolkien as for the Anglo— Saxons, and even if he were not freer with anacrusis more generally, it would not be surprising that he would feel more comfortable using it with this rhythmic pattern. -
Dietrich Von Bern and “Historical” Narrative in the German Middle Ages
1 Dietrich von Bern and “Historical” Narrative in the German Middle Ages: An Investigation of Strategies for Establishing Credibility in Four Poems of the Middle High German Dietrichepik by Jonathan Martin Senior Honors Thesis Submitted for German and MEMS, March 26th, 2010 Advised by Professor Helmut Puff © Jonathan Seelye Martin 2010 2 Acknowledgements My special thanks are owed to Dr. Helmut Puff, who has made his advice, time, and considerable knowledge available to me throughout the process of writing this thesis. He has steered me away from many misconceptions and improved my writing for clarity and style. It is very much thanks to him that this thesis appears in the form that it currently does. I also must thank him for repeatedly reminding me that one is never fully satisfied with an end product: there is always something left to improve or expand upon, and this is especially true of an overly ambitious project like mine. In a large part due to his wonderful help, I hope to continue working on and improving my knowledge of this topic, which at first I despised but have come to love, in the future. My thanks also go out to Drs. Peggy McCracken, Kerstin Barndt, George Hoffmann, and Patricia Simons, who have at various times read and commented on drafts of my work and helped guide me through the process of writing and researching this thesis. My other professors and instructors, both here and at Freiburg, have also been inspirations for me, and I must especially thank Maria “Frau” Caswell for teaching me German, Dr.