Capturing the Zeitgeist
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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 ......................................... -
El León De Oro 20 Años De Un Coro De Autor XXX EDICIÓN CLÁSICOS EN VERANO 30 De Junio—23 De Julio 2017
REVISTA DE MÚSICA Año XXXII - Nº 331 Julio-Agosto 2017 - 7’50 € DOSIER ENTREVISTA ACTUALIDAD MÚSICA MEDIEVAL (I) CUARTETO CASALS ERMONELA JAHO Año XXXII - Nº 331 - Julio-Agosto 2017 Año XXXII - Nº 331 Julio-Agosto EL LEÓN DE ORO 20 AÑOS DE UN CORO DE AUTOR XXX EDICIÓN CLÁSICOS EN VERANO 30 de junio—23 de julio 2017 www.madrid.org/clasicosenverano 331-Pl 1.qxp_Pliego 1 28/6/17 14:59 Página 1 AÑO XXXII - Nº 331 - Julio-Agosto 2017 - 7,50 € 2 OPINIÓN El sonido de la música medieval Josemi Lorenzo Arribas 6 CON NOMBRE Y si cantamos... ¿rezamos? PROPIO Juan Carlos Asensio Ermonela Jaho Cantar con la mente y el cuerpo Stefano Russomanno Paloma Gutiérrez / Pepe Rey 12 FESTIVALES ENCUENTROS DE VERANO Cuarteto Casals 86 Javier Pérez Senz 18 ACTUALIDAD NACIONAL EDUCACIÓN 88 Joan-Albert Serra 28 ACTUALIDAD AUDIO 89 INTERNACIONAL Juan J. Pérez 36 ENTREVISTA EL HORIZONTE 90 El León de Oro QUIMÉRICO Eduardo Torrico Martín Llade 40 Excepcionales del mes LA GUÍA 91 41 GRABACIONES JAZZ 92 Yahvé M. de la Cavada 66 LIBROS BANDAS SONORAS 94 69 DOSIER Miguel Ángel Ordóñez Música medieval (I) La voz medieval CONTRAPUNTO 96 Björn Schmelzer Norman Lebrecht Colaboran en este número: Mariano Acero Ruilópez, Julio Andrade Malde, Juan Carlos Asensio, Félix de Azúa, Rafael Banús Irusta, Nuria Blanco Álvarez, Emili Blasco, José Antonio Cantón, Yahvé M. de la Cavada, Jacobo Cortines, Patrick Dillon, Fernando Fraga, Marco Frei, Germán Gan Quesada, Manuel García Franco, Miguel Ángel González Barrio, Paloma Gutiérrez del Arroyo, Bernd Hoppe, Martín Lasalle, Norman Lebrecht, Martín Llade, Juan Antonio Llorente, Josemi Lorenzo Arribas, Pier Élie Mamou, Bernardo Mariano, Luis Martín, Santiago Martín Bermúdez, Joaquín Martín de Sagarmínaga, Blas Matamoro, Antonio Moral, Andrés Moreno Mengíbar, Daniel Muñoz de Julián, Helena Núñez Guasch, Miguel Ángel Ordóñez, Judith Ortega, Rafael Ortega Basagoiti, Josep Pascual, Juan J. -
Yaron Matras
THE ROLE OF LANGUAGE IN MYSTIFYING AND DE-MYSTIFYING GYPSY IDENTITY Yaron Matras ‘Gypsy’: A double signifier No discovery has been as significant to the understanding of the history of the Gyp- sies as the illumination of their linguistic connection with India. Having said this, there arises immediately a need to clarify. For the connection between the Romani language and the languages of India has no bearing at all on the history and origin of the Irish Travellers, and probably little and only indirect significance for an under- standing of the culture of the German or Swiss Jenische, to name but two examples out of many. At the same time it is impossible to understand the Rom, Romacel, Romanichel, Sinte, Manush, or Kaale without knowing something about the origins of their language – romani chib, or romanes, or, as it is referred to in modern lin- guistics: Romani. How might we resolve this contradiction? The answer is very triv- ial: two separate signified entities are captured by the term ‘Gypsy’. GYPSY 1 denotes the social phenomenon of communities of peripatetics or com- mercial nomads, irrespective of origin or language. Whether or not the diverse communities that fall under GYPSY 1 have much in common, is the subject of occa- sional discussions among members of these groups, and of intense research among social scientists describing their cultures. Let us accept both the fact that members of these distinct groups often show interest in one another and may at times feel a sense of common destiny, while at the scientific level comparative research into diverse peripatetic communities is now an established discipline. -
ROTWELSCH, Hebrew Loanwords in 431 ——
ENCYCLOPEDIA OF HEBREW LANGUAGE AND LINGUISTICS Volume 3 P–Z General Editor Geoffrey Khan Associate Editors Shmuel Bolokzy Steven E. Fassberg Gary A. Rendsburg Aaron D. Rubin Ora R. Schwarzwald Tamar Zewi LEIDEN • BOSTON 2013 © 2013 Koninklijke Brill NV ISBN 978-90-04-17642-3 Table of Contents Volume One Introduction ........................................................................................................................ vii List of Contributors ............................................................................................................ ix Transcription Tables ........................................................................................................... xiii Articles A-F ......................................................................................................................... 1 Volume Two Transcription Tables ........................................................................................................... vii Articles G-O ........................................................................................................................ 1 Volume Three Transcription Tables ........................................................................................................... vii Articles P-Z ......................................................................................................................... 1 Volume Four Transcription Tables ........................................................................................................... vii Index -
THE PERFECT WAGNERITE: a COMMENTARY on the NIBLUNG's RING by Bernard Shaw
THE PERFECT WAGNERITE: A COMMENTARY ON THE NIBLUNG'S RING by Bernard Shaw Preface to the First German Edition In reading through this German version of my book in the Manuscript of my friend Siegfried Trebitsch, I was struck by the inadequacy of the merely negative explanation given by me of the irrelevance of Night Falls On The Gods to the general philosophic scheme of The Ring. That explanation is correct as far as it goes; but, put as I put it, it now seems to me to suggest that the operatic character of Night Falls On The Gods was the result of indifference or forgetfulness produced by the lapse of twenty-five years between the first projection of the work and its completion. Now it is clear that in whatever other ways Wagner may have changed, he never became careless and he never became indifferent. I have therefore inserted a new section in which I show how the revolutionary history of Western Europe from the Liberal explosion of 1848 to the confused attempt at a socialist, military, and municipal administration in Paris in 1871 (that is to say, from the beginning of The Niblung's Ring by Wagner to the long-delayed completion of Night Falls On The Gods), demonstrated practically that the passing away of the present order was going to be a much more complicated business than it appears in Wagner's Siegfried. I have therefore interpolated a new chapter which will perhaps induce some readers of the original English text to read the book again in German. -
Liber Vagatorum
How Yiddish Became the Criminal Language Kristen Gill, Hannah Lee, Rakela Miller Thesis Percep@ons of Yiddish as the Criminal Language During the 16th century, Jews became associated with the criminal language Beggars Vocabulary: Word Origins This pie chart shows the breakdown of work origins listed in the vocabulary sec@on of Mar@n Luther’s because of the misinterpretaon of Yiddish words used in the beggars cant as a 12 book. The sec@on acted as a dic@onary during this @me period so that people who did not speak the part of the Hebrew language. For example in Mar@n Luther’s book, The Book of Hebrew various languages incorporated into the beggars cant could understand the words. These beggars came Vagabonds and Beggars, beggars cant was presumed to come from the Jewish German from all over bringing various words with them. In Mar@n Luther’s preface it says, "Truly, such Beggar's people which can be seen in the vocabulary sec@on of the book where Yiddish 65 French Cant has come from the Jews, for many Hebrew words occur in the Vocabulary, as anyone who words that beggars used are actually cited as being from Hebrew descent. Yiddish understands that language may perceive." These Hebrew words, however, are actually Yiddish, which 134 Lan is a fusion language that uses words derived from Hebrew. The beggars considered 2 shows the misinterpretaon of Yiddish words used by beggars as a part of the Hebrew language. “outsiders” were wanderers from all over and spoke a variety of languages. -
Dutch. a Linguistic History of Holland and Belgium
Dutch. A linguistic history of Holland and Belgium Bruce Donaldson bron Bruce Donaldson, Dutch. A linguistic history of Holland and Belgium. Uitgeverij Martinus Nijhoff, Leiden 1983 Zie voor verantwoording: http://www.dbnl.org/tekst/dona001dutc02_01/colofon.php © 2013 dbnl / Bruce Donaldson II To my mother Bruce Donaldson, Dutch. A linguistic history of Holland and Belgium VII Preface There has long been a need for a book in English about the Dutch language that presents important, interesting information in a form accessible even to those who know no Dutch and have no immediate intention of learning it. The need for such a book became all the more obvious to me, when, once employed in a position that entailed the dissemination of Dutch language and culture in an Anglo-Saxon society, I was continually amazed by the ignorance that prevails with regard to the Dutch language, even among colleagues involved in the teaching of other European languages. How often does one hear that Dutch is a dialect of German, or that Flemish and Dutch are closely related (but presumably separate) languages? To my knowledge there has never been a book in English that sets out to clarify such matters and to present other relevant issues to the general and studying public.1. Holland's contributions to European and world history, to art, to shipbuilding, hydraulic engineering, bulb growing and cheese manufacture for example, are all aspects of Dutch culture which have attracted the interest of other nations, and consequently there are numerous books in English and other languages on these subjects. But the language of the people that achieved so much in all those fields has been almost completely neglected by other nations, and to a degree even by the Dutch themselves who have long been admired for their polyglot talents but whose lack of interest in their own language seems never to have disturbed them. -
BRUNHILDS CINEMATIC EVOLUTION in GERMAN FILM By
BRUNHILDS CINEMATIC EVOLUTION IN GERMAN FILM by ULLA KASPRZYK HELD (Under the Direction of Christine Haase) ABSTRACT This thesis investigates the portrayal of Brunhild in three major films that retell the Norse and Germanic variations of the legends of Brunhild and Siegfried: Fritz Lang’s Die Nibelungen (1924), Harald Reinl’s Die Nibelungen (1966), and Uli Edel’s Die Nibelungen – Der Fluch des Drachen (2004) (English title Dark Kingdom: The Dragon King, 2006). The emphasis will be on whether Brunhild is portrayed in keeping with the spirit of the Norse tradition, i.e. that of a strong woman with agency, by examining the decade the film was shot in, to include gender relations, the director and production team, the literary and other sources used for the film, and finally the plot of the film itself, coupled with the portrayal of the character by the respective actress. I will argue the portrayal of this epic figure does not correspond to the most successful and emancipated representation of Brunhild in the Norse tradition in Lang’s and Reinl’s films, whereas it does in Edel’s film. An overview of the legend and sagas that have served as sources for these films will be required in order to support my analyses. A connection between the making of these films and the directors’ choice of which literary Brunhild to portray will also be examined. INDEX WORDS: Fritz Lang, Harald Reinl, Uli Edel, German Cinema, Fantasy, Brunhild, Brynhild, Siegfried, Sigurd, Die Nibelungen, Die Nibelungen – Der Fluch des Drachen, The Ring of the Nibelungs, Dark -
Das Rheingold Libretto and Music by Richard Wagner
The Pescadero Opera Society presents Der Ring des Nibelungen Das Rheingold Libretto and Music by Richard Wagner Opera in One Act [Four Scenes] Setting: In the Rhine River in Germany Time: Ancient German & Norse Mythology Characters Wotan, head god (bass-baritone) ................................................................................... Bryn Terfel Fricka, Wife of Wotan (mezzo-soprano) .............................................................. Stephanie Blythe Freia, goddess of youth and beauty (soprano) ................................................ Wendy Bryn Harmer Fasolt, a giant (bass-baritone) ............................................................................... Franz-Josef Selig Fafner, a giant (bass) ............................................................................................ Hans-Peter König Loge, demi-god of fire (tenor) ................................................................................... Richard Croft Alberich, a Nibelung dwarf and brother of Mime (bass-baritone) ................................ Eric Owens Mime, a Nibelung dwarf and brother of Alberich (tenor) ....................................... Gerhard Siegel Froh, god of sun, rain and fruits (tenor) ...................................................................... Adam Deigel Donner, god of thunder (bass-baritone) ..................................................................... Dwayne Croft Erda, earth goddess (contralto) ..................................................................................Patricia -
Early Contact Between English and Celtic
In: Vienna English Working Papers (1995) 4, 2: 87-119. Early contact and parallels between English and Celtic1 Raymond Hickey, University of Essen Introduction If one looks at English over the 1500 years of its attested development then certain changes are immediately obvious. From a point of view of typology there is something which obviously needs to be explained in the history of English, namely the rate at which the language has changed from a synthetic language with a complicated system of inflections in the nominal and verbal area to an analytic language in which grammatical relations are largely expressed by word order and by the increased functionalisation of prepositions. To begin with I should state my stance on the issue of typological change in English: the central hypothesis of this paper is that there may well have been a low-level influence from British Celtic on Old English whereby the phonetic makeup of the former with its lenition of consonants in weak environments and reduction of vowels in unstressed syllables may well have infected the pronunciation of Old English and at least accelerated any tendency to phonetic opacity and attrition in unstressed syllables which may have been present in the existing varieties of the language leading ultimately to changes in morphology which we perceive as a shift in language type when viewed over a long period. This paper will address general questions concerning types of contact and shift (sections 1 and 2), offer a brief history of Celtic-Germanic contact (sections 3 to 5), consider the linguistic nature of the contact (sections 6 to 8) and its consequences (sections 9 and 10). -
1455189355674.Pdf
THE STORYTeller’S THESAURUS FANTASY, HISTORY, AND HORROR JAMES M. WARD AND ANNE K. BROWN Cover by: Peter Bradley LEGAL PAGE: Every effort has been made not to make use of proprietary or copyrighted materi- al. Any mention of actual commercial products in this book does not constitute an endorsement. www.trolllord.com www.chenaultandgraypublishing.com Email:[email protected] Printed in U.S.A © 2013 Chenault & Gray Publishing, LLC. All Rights Reserved. Storyteller’s Thesaurus Trademark of Cheanult & Gray Publishing. All Rights Reserved. Chenault & Gray Publishing, Troll Lord Games logos are Trademark of Chenault & Gray Publishing. All Rights Reserved. TABLE OF CONTENTS THE STORYTeller’S THESAURUS 1 FANTASY, HISTORY, AND HORROR 1 JAMES M. WARD AND ANNE K. BROWN 1 INTRODUCTION 8 WHAT MAKES THIS BOOK DIFFERENT 8 THE STORYTeller’s RESPONSIBILITY: RESEARCH 9 WHAT THIS BOOK DOES NOT CONTAIN 9 A WHISPER OF ENCOURAGEMENT 10 CHAPTER 1: CHARACTER BUILDING 11 GENDER 11 AGE 11 PHYSICAL AttRIBUTES 11 SIZE AND BODY TYPE 11 FACIAL FEATURES 12 HAIR 13 SPECIES 13 PERSONALITY 14 PHOBIAS 15 OCCUPATIONS 17 ADVENTURERS 17 CIVILIANS 18 ORGANIZATIONS 21 CHAPTER 2: CLOTHING 22 STYLES OF DRESS 22 CLOTHING PIECES 22 CLOTHING CONSTRUCTION 24 CHAPTER 3: ARCHITECTURE AND PROPERTY 25 ARCHITECTURAL STYLES AND ELEMENTS 25 BUILDING MATERIALS 26 PROPERTY TYPES 26 SPECIALTY ANATOMY 29 CHAPTER 4: FURNISHINGS 30 CHAPTER 5: EQUIPMENT AND TOOLS 31 ADVENTurer’S GEAR 31 GENERAL EQUIPMENT AND TOOLS 31 2 THE STORYTeller’s Thesaurus KITCHEN EQUIPMENT 35 LINENS 36 MUSICAL INSTRUMENTS -
Rheingold L’Oro Del Reno Heingold Heingold R As As D Agner W Ichard Ichard R FONDAZIONE TEATRO LA FENICE DI VENEZIA Foto © Michele Crosera
3 La Fenice prima dell’Opera 2011 3 2011 Fondazione Stagione 2011 Teatro La Fenice di Venezia Lirica e Balletto Richard Wagner das Rheingold L’oro del Reno heingold heingold R as as D agner W ichard ichard R FONDAZIONE TEATRO LA FENICE DI VENEZIA foto © Michele Crosera Visite a Teatro Eventi Gestione Bookshop e merchandising Teatro La Fenice Gestione marchio Teatro La Fenice® Caffetteria Pubblicità Sponsorizzazioni Fund raising Per informazioni: Fest srl, Fenice Servizi Teatrali San Marco 4387, 30124 Venezia Tel: +39 041 786672 - Fax: +39 041 786677 [email protected] - www.festfenice.com FONDAZIONE AMICI DELLA FENICE STAGIONE 2011 Incontro con l’opera lunedì 24 gennaio 2011 ore 18.00 ANGELA IDA DE BENEDICTIS Intolleranza 1960 martedì 22 febbraio 2011 ore 18.00 LUCA MOSCA La bohème martedì 22 marzo 2011 ore 18.00 GIORGIO PESTELLI Rigoletto lunedì 16 maggio 2011 ore 18.00 LORENZO ARRUGA Lucia di Lammermoor venerdì 17 giugno 2011 ore 18.00 GIORGIO PESTELLI Das Rheingold martedì 5 luglio 2011 ore 18.00 GIANNI GARRERA Sogno di una notte di mezza estate mercoledì 31 agosto 2011 ore 18.00 PAOLO COSSATO Il barbiere di Siviglia martedì 13 settembre 2011 ore 18.00 GIOVANNI BIETTI Don Giovanni martedì 11 ottobre 2011 ore 18.00 GIORGIO PESTELLI Clavicembalo francese a due manuali copia dello strumento di Goermans-Taskin, costruito attorno Le nozze di Figaro alla metà del XVIII secolo (originale presso la Russell lunedì 24 ottobre 2011 ore 18.00 Collection di Edimburgo). MICHELE DALL’ONGARO Opera del M° cembalaro Luca Vismara di Seregno Acis and Galatea (MI); ultimato nel gennaio 1998.