Read Ebook {PDF EPUB} The Life of High Countess Gritta von Ratsinourhouse by Bettina von Arnim The Life of High Countess Gritta von Ratsinourhouse by Bettina von Arnim. Our systems have detected unusual traffic activity from your network. Please complete this reCAPTCHA to demonstrate that it's you making the requests and not a robot. If you are having trouble seeing or completing this challenge, this page may help. If you continue to experience issues, you can contact JSTOR support. Block Reference: #cd79ebc0-c333-11eb-8c3a-bb4687091d37 VID: #(null) IP: 188.246.226.140 Date and time: Tue, 01 Jun 2021 23:48:02 GMT. Melvil Decimal System: 833.7. Wording: Literature > German & Germanic > Fiction > Postclassic Period, 1830-1856. Dewmoji: > > ? > ? Works under MDS 833.7. by Theodor Fontane by Theodor Storm by Jeremias Gotthelf by Annette von Droste-Hülshoff by Adalbert Stifter by Eduard Mörike by Adalbert Stifter by Franz Grillparzer by Karl May by Heinrich Heine by Adalbert Stifter by Theodor Storm by Theodor Storm by Adalbert Stifter by Adalbert Stifter by Brothers Grimm by Heinrich Heine by Ludwig Tieck by Eduard Mörike by Heinrich Heine by Charles Sealsfield by Adalbert Stifter by Adalbert Stifter by Bettina von Arnim by Adalbert Stifter. Wording. "Far Friends" MDS classes with significant recommendations overlap, excluding ones under the same top-level class. Related tags. What is MDS? Melvil stands for "Melvil Decimal System," named after Melvil Dewey, the famous librarian. Melvil Dewey invented his Dewey Decimal System in 1876, and early versions of his system are in the public domain. More recent editions of his system are in copyright, and the name "Dewey," "Dewey Decimal," "Dewey Decimal Classification" and "DDC" are registered trademarked by OCLC, who publish periodic revisions. LibraryThing's MDS system is based on the classification work of libraries around the world, whose assignments are not copyrightable. MDS "scheduldes" (the words that describe the numbers) are user-added, and based on public domain editions of the system. The Melvil Decimal System is NOT the Dewey Decimal System of today. Wordings, which are entered by members, can only come from public domain sources. The base system is the Free Decimal System, a public domain classification created by John Mark Ockerbloom. Where useful or necessary, wording comes from the 1922 edition of the Dewey Decimal System. Language and concepts may be changed to fit modern tastes, or to better describe books cataloged. Wordings may not come from in-copyright sources. The Same Sea as Every Summer. The disillusioned narrator of The Same Sea As Every Summer is a middle-aged woman whose unhappy life prompts a journey into she past to rediscover a more authentic self. However, events force her to realize that love or trust will inevitably be repaid by betrayal. This pattern assumes various forms in a story that moves forward as well as backward, playing out in Barcelona among the haute bourgeoisie. Richly textured with allusion, The Same Sea As Every Summer is also a commentary on post-Civil War Spanish society by an author who grew up during the repressive Franco regime. Esther Tusquets’s other novels include El amor es un juego solitano (1979) and Para no volver (1985). The Life of High Countess Gritta von Ratsinourhouse by Bettina von Arnim. Nathaniel E. Dubin. Bawdier than The Canterbury Tales, The Fabliaux is the first major English translation of the most scandalous and irreverent poetry in Western literature. Composed between the twelfth and fourteenth centuries, these virtually unknown erotic and satiric poems lie at the root of the Western comic tradition. Passed down by the anticlerical middle classes of medieval France, The Fabliaux depicts priapic priests, randy wives, and their cuckolded husbands in tales that are shocking even by today’s standards. Chaucer and Boccaccio borrowed heavily from these riotous tales, which were the wit of the common man rebelling against the aristocracy and Church in matters of food, money, and sex. Containing 69 poems with a parallel Old French text, The Fabliaux comes to life in a way that has never been done in nearly eight hundred years. Dwellings. Karen L. Erickson. Understanding China via Poetry: A Selection of 108 Chinese Poems. Sen Du and Sophia Geng. This book contains 108 Chinese poems selected from 1200BC-2010AD, from 'The Ospreys Cry' of the Shijing to the six-character modern poem 'Difficulties in Getting Educated.' Following the Trail of Max Birnbaum: From the Lesachtal in the Alps to Lake Wobegon in Minnesota. Otmar M. Drekonja. The Life of High Countess Gritta von Ratsinourhouse. Bettine von Arnim, Gisela von Arnim Grimm, and Anna Lisa Ohm. By Bettine von Arnim and Gisela von Arnim Grimm. Translated and with an introduction by Lisa Ohm. Appearing for the first time in English, this delightful story of the adventures of twelve young girls will appeal to readers of all ages. Gritta, neglected by her father, is uprooted when her new stepmother insists she enter a convent school. Strictly supervised by the nun Sequestra, Gritta slips into melancholy. A mishandled bird, however, awakens Gritta to the realization that she and her friends must flee their walled-in life. Following her heart and employing her wits, Gritta leads the escape. The runaway girls are eventually shipwrecked near the principality of Sumbona. They establish a Robinson Crusoe–like existence and later found their own cloister. Their community is sustained by the industry and talents of each of the girls. Mayeli paints, Harmony composes, and Wildberry, an herbalist, learns nature’s secrets and gains access to supernatural powers that will guarantee the future of the community. Gritta chooses to marry Prince Bonus of Sumbona, but when she sees the twelve cells in the cloister, she realizes with a pang of longing that she will never occupy the one meant for her. This enchanting tale, coauthored in the early 1840s by Gisela von Arnim Grimm and her mother, Bettine von Arnim, lay undiscovered in an archive for nearly a century. Through humor and delicate satire, the authors criticize the place of women and children in nineteenth-century German society. (from the publisher's web site) Der Wanderer of St. Paul: The First Decade, 1867-1877: A Mirror of the German-Catholic Immigrant Experience in Minnesota. John S. Kulas OSB. Examines the role, influence, and effectiveness of the German- language newspaper in its goal of preserving among immigrants in frontier Minnesota both a functioning German society and a faithful Catholic Church. Considers the relationship between the newspaper and the community, the experience of immigration, preserving ethnic heritage, literature, music, illustrations, and other aspects of life. Annotation c. Book News, Inc., Portland, OR (booknews.com) The Life of the Holy Hildegard. Godefridus 12th cent. monk, Theodoricus 12th cent., Adelgundis Fü hrkkö tter OSB, Mary Palmquist, John S. Kulas OSB, and James McGrath. The life of Hildegard of Bingen by two of her contemporaries brings this German mystic to life in excerpts from her own writings. This twelfth- century Benedictine abbess exorcized demons; healed the sick; warned sister convents and monasteries against the dangers of a "soft" life; preached to the laity on her journeys; incurred an interdict against her convent rather than obey an order she knew was wrong; founded a new convent, separated from her original monastery, and then successfully negotiated the transfer of her nuns' dowries from reluctant monks. When Hildegard needed answers or protection, she went to the top - to her archbishop, to Emperor Frederick Barbarossa, to Pope Eugene III, or to St. Bernard of Clairvaux. And then she dared to revile Barbarossa when he continued to back the antipopes, even though he was the protector of her convent. Led to act by her visions, she tried, like Jonah, to ignore God's promptings. She stalled, resisted, and became deathly ill. Each time Hildegard recovered as soon as she obeyed God's hard orders. An authority on medicine, herbal remedies, natural science, music, and theology, Hildegard scolded, instructed, refused, and loved. She was a liberated woman. Holistic Healing. Saint Hildegard, Mary Palmquist, John S. Kulas OSB, and Patrick Madigan. The author discusses the use of natural ingredients in diet and therapy to alleviate pain and to foster healing and gives insights into human physiology and pathology. Original Latin title: Causae et curae.

Ası ́ Es: Stories of Hispanic Spirituality. Arturo Pérez, Consuelo Covarrubias, Edward Foley, Elena Sánchez Mora, and Sarah Pruett. Así es: Stories of Hispanic Spirituality explores the moments of grace of fifteen Hispanics from Mexican-American, Mexican, Puerto Rican, Cuban, Guatemalan, and Salvadoran traditions who live in the United States. These women and men, from youth to those who bear the gift of age and wisdom, share their intimate journey with their God. You will identify with their human struggles, their insights as they cross boundaries from death to life, and their moments of crisis. You will also learn from the memories they share of root experiences, and how they are able to claim their awareness of God's presence working in their lives. These stories reveal how the authors tapped the resources within themselves, their community, and their Church. These stories also share how the authors discovered their God, embracing and passing through the experience of struggle, crisis, joy, transformation, and celebration. The Homeric Narrator. The narrator of the Iliad and the Odyssey […]belongs neither to the stories he tells nor to the real world. He is not a fictional character living in the heroic world of the epic, nor is he the historical author known as Homer.[…]This metacharacter, the Homeric narrator, is the subject of the present study. [from the Introduction] The Ideal of Heimat in the Works of Hermann Hesse. This analysis of the ideal of Heimat in Hesse's Demian, Siddhartha and Steppenwolf is a significant contribution to Hesse scholarship, as well as a fascinating re-evaluation of the culture-bound concept of Heimat itself. Kiryakakis shows how the three novels form a trilogy, with each successive hero expanding upon and benefitting from the experiences of his precursor, and draws parallels between the novels and Hesse's own tenuous relationship to his Heimat. Using both textual and biographical analysis, he examines the three novels within the framework of a continuum, which reflects various developmental stages in the heros' search for the lost ideal of Heimat. Thus he shows how, ultimately, the trilogy not only depicts the development of an individual, but epitomizes the very nature of twentieth-century existence. Euripides’ Iphigenia at Aulis. Donald Richardson and Scott Richardson. There have been some excellent efforts by modern translators in rendering the choral parts of Aristophanes’ comedies as discernibly entertaining songs, but so far there has been little serious endeavor toward doing the same with the songs of tragedy. This translation is an attempt to do that. The songs herein are unmistakably songs. The content, tone, and themes of each are strictly Euripides’; their formats and musical idioms are modern. Because this is not a line-for-line translation and because we have taken liberties with the lyrics, we are calling this an adaptation rather than a translation. In our own minds it is a translation, however, for it is more in keeping with the spirit of Iphigenia at Aulis than any other version we know of. Music has been composed for all the songs. It has been arranged for keyboard, guitar, bass, and drums and is available through either collaborator upon request. [from the Preface] Erinnerungen an Guido Zernatto : Unbekanntes aus der Schreibtischlade eines Ö sterreichers aus Kä rnten. Otmar M. Drekonja. Inhalt/Contents: K ä rnten 1920; Wien 1927 bis 1931; Der Nachlaß aus der Heiligenst ä dterstraße; Auswahl von Gedichten aus dem Nachlaß; Bibliographie. From Folklore to Literature: The Märchen and the German Romantic Movement. When the early German Romantic writers and critics, a group that included Friedrich and August Wilhelm Schlegel, Friedrich von Hardenberg (known by the pen name Novalis), and Ludwig Tieck, began taking stock of the new literary approach they were creating, it is little wonder that they saw themselves at the forefront of a movement which had the potential to change not only literature, but learning, society, and the individual forever. 1 Die Welt muss romantisiert werden (The world must be romanticized), wrote Novalis. 2 Guided by a potent vision born out of the deliberate rejection of Rationalism and Neoclassicism, the Romantics envisioned a literature of the heart instead of the head, a literature that would celebrate Nature and the Spirit and above all else the Imagination. In the climate of the French Revolution; of the Idealism of Kant and Fichte that seemed to bring Rationalism to its knees; the rise of German nationalism; and a literary world dominated by pre-Weimar Goethe, the Romantics believed they were destined to usher in a poetic Golden Age, where science and religion, art and philosophy, society and the individual, would all be reconciled in a poetic synthesis based on the alchemy of the imagination. 3 Calling themselves Romantics in honor of the great medieval legends written in the vernacular, 4 it is no surprise that the “märchen” (the German equivalent of “fairy tale”) came to be adopted as their special literary form. Gordon Birrell, in his introduction to German Literary Fairy Tales , writes: It was not until the end of the eighteenth and beginning of the nineteenth century, in the context of German Romanticism, that the folk fairy tale was first acknowledged as oral literature of the highest order. Significantly, the endorsement of the folk tale went hand in hand with the creation of a new and far more ambitious variety of literary fairy tale, a narrative invention of such extraordinary appeal that it became, for a brief period, the very centerpiece of Romantic literary theory. 5. The German Romantic Movement was both a product and an expression of the interest in Teutonic folk culture that went hand in hand with a new sense of German Nationalism among the intellectual classes of the German-speaking nations as the eighteenth century drew to a close and the nineteenth century dawned. Beginning in 1806, Romantic poets Clemens Brentano and Ludwig Achim von Arnim began publishing a collection of traditional German folksongs and legends entitled, Des Knaben Wunderhorn (The Youth’s Magic Horn) . Motivated by the work of Arnim and Brentano, 6 in 1812 the ethnologic linguists Wilhelm and Jacob Grimm published the first of their groundbreaking collections of traditional German fairy tales. Arnim, Brentano and the other Romantics recognized in the fairy tale a truly national idiom that gave allowance for the imagination to rule supreme. George Friedrich von Hardenberg, writing under the name Novalis, was a visionary young man who espoused an aesthetic philosophy that he called “Magic Idealism.” He believed that poetry was a kind of “key” to a new way of perceiving reality, and wrote “poetry” in both prose and verse. The pinnacle of Novalis’ fiction is his unfinished novel Heinrich von Ofterdingen , which follows a young man through an imaginary Middle Ages as he searches for the spirit of poetry. The novel—in its incomplete form—ends with a dense, allegorical fairy tale about the triumph of poetry and wisdom over skepticism. Although filled with complex personal symbolism drawn from alchemy and other “hermetic” sources, 7 this fairy tale which concludes Novalis’ novel can be enjoyed apart from its allegorical meaning, which few have been able to fully unravel. The world that Novalis creates is full of grandeur, humor and passion. The hero of the story, a roguish, clever toddler named Fabel (Fable), delights the reader with her combination of wisdom and mischief. Her sublime song that ends the tale is a vision of the ideal world of the Early Romantics. Novalis’ influence was to last much longer than his short life of twenty-eight years: among those who acknowledged a debt to him in their own fairy tale-laden works were George MacDonald, C .S. Lewis, and Hermann Hesse. 8. Novalis’ decision to explore the philosophical concepts closest to his heart in the form of a fairy tale was most likely influenced by Goethe’s own allegorical fairy tale, usually translated into English as The Fairy Tale or The Green Snake and the Beautiful Lily . Although found in anthologies of Romantic-period fairy tales, The Fairy Tale contains both Neoclassical and Romantic elements, and, like Goethe himself, transcends both tendencies. Combining traditional German and French fairy tale elements with classical mythology, the story of the self-sacrificing green snake and the enchanted princess Lily is both a delightful tale and a deep philosophical meditation. To understand the extent to which writers of the Romantic Movement transformed the traditional fairy tale into a unique and separate literary form it is helpful to look at a few outstanding examples of their work in this genre. One of the masterpieces of Romantic literature is Ludwig Teick’s Der Blond Eckbert (The Fair Eckbert) . Using traditional fairy tale elements such as the love of a noble knight for his lady, a poor girl who is adopted by a witch, and magical animals, Teick tells a story that slowly descends into madness and horror as the world of faere is revealed to be a projection of the unconscious guilt that the knight Eckbert feels for his wife’s theft of a magic bird, their shared crime of incest, and the murder he commits to cover it up. Teick seems to suggest that fairy tales are both a source, and a product, of psychological repression, a mirror of the potential darkness that lies in all of us, and this is what makes his story so shattering to the reader. “Gott im Himmel! in welcher entsetzlichen Einsamkeit hab ich dann mein Leben hingebracht!” 9 (“God in heaven, in what horrible solitude have I been living!”), Eckbert exclaims in terror as everyone and everything in life is revealed to be a series of illusions, of fictions—everything except the crimes that he and his wife have committed. 10. In contrast to the dark, psychological nature of Der Blond Eckbert , E. T. A. Hoffmann’s late Romantic fairy tale Klein Zaches, Genannt Zinnobar (Small Zaches, Called Zinnober) is a broad and lively satire on the kind of Rationalism that rejects fantasy, magic and other products of the imagination. A tiny principality has decided to reorganize itself along Enlightenment lines, expelling the fairies that have made it a paradise. Only one fairy remains, Rosabelverde, who has disguised herself as a respectable nun. She gives a pathetic changeling, the child of a poor woman, a dangerous gift, the ability to take credit for other people’s beauty, talent, work and eloquence. As all of these achievements appear to belong to him, he becomes successful and popular, but ruins the lives of others in the process. It is only by the intervention of a powerful sorcerer that things are set right, shaking the foundations of the Enlightened state. As in Hoffmann’s masterpiece Der Goldene Topf (The Golden Pot) ; when poetry, magic, and the imagination touch the lives of staid, bourgeois, respectable citizens, chaos ensues. 11 But Hoffmann is on the side of the poets. Other Romantic märchen of note that are widely available in English are Friedrich de la Motte Fouqué’s Undine , Josef von Eichendorff’s Das Marmorbild (The Marble Statue) , Clemens Brentano’s Geschichte vom braven Kasperl und dem schönen Annerl (The Tale of Honest Casper and Fair Anne) , and his Das Märchen von dem Myrtenfräulei (The Tale of the Myrtle-Girl) . In a class all by itself is the long-lost masterpiece Das Leben der Hochgräfin Gritta von Rattenzuhausbeiuns , which has been masterfully translated into English by Lisa Ohm with the title The Life of High Countess Gritta von Ratsinourhouse . 12 It was the work of two singularly talented women: Bettina (or Bettine) von Arnim, who was the wife of Ludwig Achim von Arnim, the sister of Clemens Brentano, Beethoven’s “immortal beloved,” and a singer, writer, and social activist; and her teenage daughter, Gisela von Arnim (Grimm), who would go on to become a writer of fairy tales for children, an advocate for women writers, intimate friend of Hans Christian Anderson and the daughter-in-law of Wilhelm Grimm. Together they created a märchen with a warmer and more human message than the abstract philosophy or literary theory underlying many other Romantic fairy tales: the right of girls to follow their dreams without societal restraints, and the right of all children to grow up without abuse by authority figures. In this fairy tale one girl marries a prince, but others become artists and musicians and herbalists and master artisans, forming a unique and utopian women’s community. The girls learn to defend themselves from those who would exploit them or steal their dreams, and are befriended by elves and talking animals who give them magical powers. Das Leben der Hochgräfin Gritta von Rattenzuhausbeiuns was not published in its authors’ lifetimes, appearing in an incomplete version in 1906 and in its entirety only in 1986. 13 Without in any way losing the charm, the enchantment and the simplicity of the traditional fairy tale, this unique novel has all the elements of a literary masterpiece: fascinating plot, indelible characters, elegant writing and a timeless message. In the end, however, it is neither powerful social and psychological themes nor Idealist philosophical underpinnings that make the märchen of the Romantic period as much a joy to read today as when they were written. Their true strengths, and the source of their timelessness, are a result of pure storytelling and pure imagination—those qualities that allow us to feel magic and wonder every time we open their pages. 1 Novalis, Fragmente des Jahres 1798, Gesammelte Werke, No. 807, vol. III (Zurich: Bühl-Verlag, 1946), pp. 22-23. 2 Novalis, Fragmente des Jahres 1798, Gesammelte Werke, No. 879, vol. III (Zurich: Bühl-Verlag, 1946), p. 38. 3 Friedrich Schlegel, Athenäum Fragment, No. 116, Kritische Ausgabe, vol. II, Charakteristiken und Kritiken (Munich-Padeborn-Vienna: Schöningh, 1967), pp. 182-3. 4 August Wilhelm Schlegel, Vorlesungen überdramatische Kunst und Literatur, Kritische Schriften und Briefe, vol. v, Die Kunstlehre (Stuttgart: Kohlhammer, 1966), p. 21. 5 German Literary Fairy Tales, Frank G. Rider and Robert M. Browning, eds. (New York: Continuum, 1983), p. xiii. 6 Ruth B. Bottigheimer, Grimms’ Bad Girls & Bold Boys (New Haven, Conn.: Yale University Press, 1987), p. 4. 7 Bruce Haywood, Novalis: The Veil of Imagery (Cambridge, Mass.: Harvard University Press, 1959), p. 113. 8 Ralph Freedman, Hermann Hesse: Pilgrim of Crisis (New York: Pantheon Books, 1978), p. 83. 9 Ludwig Teick, Novellen Dritte Reiche: Märchen (Leipzig: Berlegt bei & Haberland, 1920), p. 132. 10 See “German Romanticism and the Fairy Tale,” the introduction to Carol Tully’s Romantic Fairy Tales (London: Penguin Books, 2000), p. xvii, for an in-depth discussion of psychological themes in Der Blonde Eckbert. 11 E. T. A. Hoffmann, Der Goldene Topf, Phantasiestücke in Callots Manier, Sämtliche poetischen Werke, vol. I (Sonderausgabe, Emil Vollmer, Tempel-Klassiker, No Date), pp. 181-255. 12 Bettine von Arnim and Gisela von Arnim Grimm, The Life of High Countess Gritta von Ratsinourhouse, trans. and with an introduction by Lisa Ohm (Lincoln, Neb.: University of Nebraska Press, 1999). 13 Lisa Ohm, p. xii. Charles Haddox has published poetry, fiction, articles and essays in a number of journals including Commonweal, The Christian Century, Cultural Survival and Folio . He is currently working on a book-length study of Novalis’ philosophy and poetics. His interest in folklore and fairy tales has been inspired by working for twenty-five years with folk artisans around the world through the Fair Trade Movement. Image: Illustration from Mein erstes Märchenbuch , Verlag Wilh. Effenberger, Stuttgart, 19th century.