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Don Carlos and Mary Stuart 1St Edition Pdf Free
DON CARLOS AND MARY STUART 1ST EDITION PDF, EPUB, EBOOK Friedrich Schiller | 9780199540747 | | | | | Don Carlos and Mary Stuart 1st edition PDF Book Don Carlos and Mary Stuart , two of German literature's greatest historical dramas, deal with the timeless issues of power, freedom, and justice. Showing It is an accessible Mary Stuart for modern audiences. Rather, the language is more colloquial and the play exhibits some extensive cuts. The title is wrong. I have not read much by Schiller as of yet, but I feel really inspired to pick up more plays now. A pair of tragedies from Friedrich Schiller, buddy to Goethe, and child of the enlightenment. June Click [show] for important translation instructions. As a global organization, we, like many others, recognize the significant threat posed by the coronavirus. Don Carlos and Mary Stuart. I am particularly impressed by Schiller, a Protestant, for his honest account of the good Queen Mary and the Roman religion. I've read several translations of this text, but this is the one I can most readily hear in the mouths of actors, especially Act 3, when the two women come face to face. This article on a play from the 18th century is a stub. Please contact our Customer Service Team if you have any questions. These are two powerful dramas, later turned into equally powerful operas. The Stage: Reviews. Help Learn to edit Community portal Recent changes Upload file. Peter Oswald London: Oberon Books, , 9. Mary Stuart. Don Carlos is a bit too long, I think, though it is fantastic. Archived from the original on September 8, Jan 01, Glenn Daniel Marcus rated it really liked it. -
Schiller and Music COLLEGE of ARTS and SCIENCES Imunci Germanic and Slavic Languages and Literatures
Schiller and Music COLLEGE OF ARTS AND SCIENCES ImUNCI Germanic and Slavic Languages and Literatures From 1949 to 2004, UNC Press and the UNC Department of Germanic & Slavic Languages and Literatures published the UNC Studies in the Germanic Languages and Literatures series. Monographs, anthologies, and critical editions in the series covered an array of topics including medieval and modern literature, theater, linguistics, philology, onomastics, and the history of ideas. Through the generous support of the National Endowment for the Humanities and the Andrew W. Mellon Foundation, books in the series have been reissued in new paperback and open access digital editions. For a complete list of books visit www.uncpress.org. Schiller and Music r.m. longyear UNC Studies in the Germanic Languages and Literatures Number 54 Copyright © 1966 This work is licensed under a Creative Commons cc by-nc-nd license. To view a copy of the license, visit http://creativecommons. org/licenses. Suggested citation: Longyear, R. M. Schiller and Music. Chapel Hill: University of North Carolina Press, 1966. doi: https://doi.org/ 10.5149/9781469657820_Longyear Library of Congress Cataloging-in-Publication Data Names: Longyear, R. M. Title: Schiller and music / by R. M. Longyear. Other titles: University of North Carolina Studies in the Germanic Languages and Literatures ; no. 54. Description: Chapel Hill : University of North Carolina Press, [1966] Series: University of North Carolina Studies in the Germanic Languages and Literatures. | Includes bibliographical references. Identifiers: lccn 66064498 | isbn 978-1-4696-5781-3 (pbk: alk. paper) | isbn 978-1-4696-5782-0 (ebook) Subjects: Schiller, Friedrich, 1759-1805 — Criticism and interpretation. -
Durham E-Theses
Durham E-Theses Grillparzer's adoption and adaptation of the philosophy and vocabulary of Weimar classicism Roe, Ian Frank How to cite: Roe, Ian Frank (1978) Grillparzer's adoption and adaptation of the philosophy and vocabulary of Weimar classicism, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/7954/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Summary After a summary of German Classicism and of Grillparzer's at times confusing references to it, the main body of the thesis aims to assess Grillparzer's use of the philosophy and vocahulary of Classicism, with particular reference to his ethical, social and political ideas, Grillparzer's earliest work, including Blanka, leans heavily on Goethe and Schiller, but such plagiarism is avoided after 1810. Following the success of Ahnfrau, however, Grillparzer returns to a much more widespread use of Classical themes, motifs and vocabulary, especially in Sappho, Grillparzer's mood in the period 1816-21 was one of introversion and pessimism, and there is an emphasis on the vocabulary of quiet peace and withdrawal. -
1 Schiller and the Young Coleridge
Notes 1 Schiller and the Young Coleridge 1. For the details of Schiller’s career and thought I am drawing on a number of works including Lesley Sharpe, Friedrich Schiller: Drama, Thought and Politics (Cambridge: Cambridge University Press, 1991); Walter Schafarschik, Friedrich Schiller (Stuttgart: Philipp Reclam, 1999); F. J. Lamport, German Classical Drama: Theatre, Humanity, and Nation, 1750–1870 (Cambridge: Cambridge University Press, 1990); and T. J. Reed, The Classical Centre: Goethe and Weimar, 1775–1832 (Oxford: Oxford University Press, 1986), and Schiller- Handbuch, ed. Helmut Koopmann (Stuttgart: Alfred Kröner, 1998). 2. Schiller later revised the essay and published it in his Shorter Works in Prose under the title ‘The Stage Considered as a Moral Institution’ (‘Die Schaubühne als eine moralische Anstalt betrachtet’). 3. See David Pugh, ‘“Die Künstler”: Schiller’s Philosophical Programme’, Oxford German Studies, 18/19 (1989–90), 13–22. 4. See J. M. Ellis, Schiller’s ‘Kalliasbriefe’ and the Study of his Aesthetic Theory (The Hague and Paris: Mouton, 1969). 5. See Paul Robinson Sweet, Wilhelm von Humboldt: a Biography, 2 vols (Columbus: Ohio State University Press, 1978–80) and W. H. Bruford, The Ger- man Tradition of Self-Cultivation: ‘Bildung’ from Humboldt to Thomas Mann (Cambridge: Cambridge University Press, 1975), ch. 1; also E. S. Shaffer, ‘Romantic Philosophy and the Organization of the Disciplines: the Found- ing of the Humboldt University of Berlin’, in Romanticism and the Sciences, ed. Andrew Cunningham and Nicholas Jardine (Cambridge: Cambridge University Press, 1990), 38–54. 6. Norbert Oellers, Schiller: Geschichte seiner Wirkung bis zu Goethes Tod, 1805– 1832 (Bonn: Bouvier, 1967). -
Dank Ich Möchte Mich Bei Allen Bedanken, Die Mich Während Des Verfassens Meiner Diplomarbeit Durch Gute Ratschläge Und Aufbauende Worte Unterstützt Haben
Dank Ich möchte mich bei allen bedanken, die mich während des Verfassens meiner Diplomarbeit durch gute Ratschläge und aufbauende Worte unterstützt haben. Mein besonderer Dank gilt meiner Familie und meinen Freunden, die mir immer zur Seite standen und mich in schwierigen Phasen ermutigt haben, nicht aufzugeben. Ich danke meiner Betreuerin Prof. Brigitte Dalinger für ihre wertvollen Verbesserungsvorschläge. View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OTHES Diplomarbeit Titel der Diplomarbeit SIND MODERNE KLASSIKER-INSZENIERUNGEN „WERKTREU“? Eine Untersuchung anhand von Andrea Breths Inszenierung von Schillers Don Carlos am Wiener Burgtheater Verfasserin Pamela Schermann Angestrebter akademischer Grad Magistra der Philosophie (Mag. phil) W i e n , in 2008 Studienkennzahl lt. Studienblatt: 317 Studienrichtung lt. Studienblatt: Theater-, Film- und Medienwissenschaft Betreuerin: Univ.-Doz. Mag. Dr. Brigitte Dalinger INHALTSVERZEICHNIS 1. VORWORT……………………………………………………………………………1 2. REGIE – AUTONOME KUNST ODER REPRODUKTION?................................ 3 2.1. Von den Anfängen des Regieberufs zum modernen Regietheater…………….……4 2.2. Reinhardt, Jessner, Piscator – Drei Pioniere des modernen Regietheaters…….…..6 2.3. EXKURS: Das Verhältnis zwischen Dichter und Regisseur……………………...10 2.4. Was wird unter einer „werktreuen Inszenierung“ verstanden?................................14 3. FRIEDRICH SCHILLERS DON CARLOS 3.1. Entstehungsgeschichte und verschiedene Text- und Bühnenfassungen………....18 3.2. Deutungsaspekte…………………………………………………………………24 -
Die Räuber, Kabale Und Liebe, Don Carlos
Portland State University PDXScholar Dissertations and Theses Dissertations and Theses 11-1972 Die Figur der Rebellen im Frühwerk Schillers: Die Räuber, Kabale und Liebe, Don Carlos Edward E. Heyen Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/open_access_etds Part of the German Literature Commons, and the Other German Language and Literature Commons Let us know how access to this document benefits ou.y Recommended Citation Heyen, Edward E., "Die Figur der Rebellen im Frühwerk Schillers: Die Räuber, Kabale und Liebe, Don Carlos" (1972). Dissertations and Theses. Paper 954. https://doi.org/10.15760/etd.954 This Thesis is brought to you for free and open access. It has been accepted for inclusion in Dissertations and Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. AN ABSTRACT OF THE THESIS OF Edward E. Heyen for the Master of Arts in Oerman Literature presented November, 1972. Titlet Die Fiqur der Rebellen im Fruhwerk Schillerat Die Rauber, Rabale und Liebe, Don Carlos APPROVED BY MEMBERS OP THE THESIS COMMITTEB: Frank Eaton " Franz Langhammer Schiller's career as a dramatist spans more than two decades. Without too much difficulty, one observes that his plays are intimately related with one another. Particularly in the Storm and Stress period, his motives appear to be much the same: Schiller is an advocate of freedom, and the rights of men. I maintain that the youthful rebel is a recurrent theme in Schiller's dramatic works and this can be shown by an analysis of four characters from three plays, followed by a summary of their similarities. -
|||GET||| Don Carlos and Mary Stuart 1St Edition
DON CARLOS AND MARY STUART 1ST EDITION DOWNLOAD FREE Friedrich Schiller | 9780199540747 | | | | | Don Carlos and Mary Stuart, Schiller They also worked together on Die Xenien The Xeniesa collection of short but harshly satiric poems in which both Schiller and Goethe verbally attacked those persons they perceived to be enemies of their aesthetic agenda. Jul 08, James Violand rated it really liked it Recommends it for: Anyone. In High, Jeffrey L. Start your review of Don Carlos and Mary Stuart. Don Carlos and Mary Stuart J. Because the play is tighter and better structured than Don CarlosDonizetti was able to retain more of it in his opera although he had to rely on a year-old librettist when his first choice refused to work with him. These new translations into blank verse are accurate, elegant, and playable. Instead, loyal advisors to Elizabeth offer equally compelling arguments for and against the death sentence. I am particularly impressed by Schiller, a Protestant, for his honest account of the good Queen Mary and the Roman religion. What is universal history and why does one study it? You can help Wikipedia by expanding it. Don Carlos and Mary Stuart 1st edition Carlos and Mary Stuart. This article on a play from the 18th century is a stub. Return to Book Page. A vivid imaginative experience when read, these plays, with their starkly contrasting characters and thrilling confrontations, also demonstrate Schiller's brilliant stagecraft. Archived from the original on September 8, Dating from and respectively, one play was written before the French Revolution, the other in its aftermath. -
Love and Intrigue. a Bourgeois Tragedy 9 Act One 13 Act Two 33 Act Three 55 Act Four 75 Act Five 91
Open Book Classics Friedrich Schiller Friedrich Schiller Love and Intrigue Friedrich Schiller Translated by Flora Kimmich Introduction by Roger Paulin Schiller’s play Kabale und Liebe, usually translated into English as Love and Intrigue, represents the disastrous consequences that follow when social constraint, youthful passion, and ruthless scheming collide in a narrow se� ng. Wri� en between 1782 and 1784, the play bears the marks of life at the court of the despo� c Duke of Wür� emberg, from which Schiller had just fl ed, and of a fraught liaison he entered shortly a� er his fl ight. It tells the tale of a love aff air that crosses the boundaries of class, between a fi ery and rebellious young nobleman and the beau� ful and du� ful daughter of a musician. Their aff air becomes entangled in the compe� ng purposes of malign and not-so-malign fi gures present at an obscure and sordid princely court somewhere in Germany. It all leads to a climac� c murder-suicide. Love and Intrigue, the third of Schiller’s canonical plays (a� er The Robbers and Fiesco’s Conspiracy at Genoa), belongs to the genre of domes� c tragedy, with a small cast and an Love and Intrigue ac� on indoors. It takes place as the highly conven� onal world of the late eighteenth century stands poised to erupt, and these tensions pervade its se� ng and emerge in its ac� on. This lively play brims with comedy and tragedy expressed in a colorful, highly colloquial, some� mes scandalous prose well captured in Flora Kimmich’s skilled and informed transla� on. -
Literatur Und Ihre Zeit. Don Carlos Von Friedrich Schiller
Medienbegleitheft zur DVD 12452 LITERATUR UND IHRE ZEIT Don Carlos von Friedrich Schiller Medienbegleitheft zur DVD 26 Minuten, Produktionsjahr 1999 Inhaltsverzeichnis Seite Kurzbiographie 2 Schillers dramatisches Schaffen 3 Der äußere Handlungsverlauf 4 Die Personen 5 Die innere dramatische Entwicklung 5 Tipps und Anregungen für die Unterrichtsarbeit 6 Kleine Vorüberlegung 6 Empfehlung 6 Mögliche „Lernziele“ 6 Lehrplanmäßige Vorgaben 6 Fachspezifische methodische Bausteine 7 1. Methoden zur Vorstellungsaktivierung 7 2. Methoden text- und sprachanalytischer Arbeit 10 3. Operative, produktiv-verändernde Verfahren 13 Einige Literaturhinweise 16 - 1 - Kurzbiographie: 1759 Friedrich Schiller wird am 10. November 1759 in Marbach am Neckar geboren. Er wächst in einfachen Verhältnissen auf. 1773-80 Schiller kommt auf Befehl des württembergischen Herzogs in die Karls- schule, eine militärische Eliteanstalt. Der ursprüngliche Wunsch, Theologie zu studieren, wird zugunsten eines Medizinstudiums auf- gegeben. 1782 Triumphaler Erfolg seines ersten Dramas „Die Räuber“. Aufgrund eines vom Herzog erlassenen Schreibverbots Flucht aus Stuttgart. Es folgen Jahre beruflicher und persönlicher Schwierigkeiten, bedingt durch die ungesicherte Existenz. 1785-87 Schiller wohnt bei seinem Freund Christian Gottfried Körner in Leipzig, später in Dresden. Arbeit am „Don Carlos“ und mehrere Umarbeitun- gen. 1786 Ode „An die Freude“, vertont von Beethoven als Schlusschor seiner 9. Symphonie 1824. 1787 „Don Karlos“ in Hamburg uraufgeführt (Hamburger Bühnenfassung in Jamben). 1787 Erste Buchausgabe „Don Karlos, Infant von Spanien“ bei Göschen in Leipzig. 1788 Professur für Geschichte an der Universität Jena, doch ohne Bezahlung. 1789 Berühmte Antrittsvorlesung: „Was heißt und zu welchem Ende studieren wir Universitätsgeschichte?“ 1790 Heirat mir Charlotte von Lengefeld. 1791 Schwere Erkrankung mit Spätfolgen. 1794 Beginn der Freundschaft zwischen Schiller und Goethe, einmalig in der Literatur- und Geistesgeschichte. -
Friedrich Schiller. the Poet's Biography
FRIEDRICH SCHILLER.^ BY THE EDITOR. A T AY nintli, the centenary of Schiller's death, is approaching; iVX and vast preparations are being made to honor the great German poet on the memorial day of the completion of his re- markable life. Friedrich Schiller is not merely a great poet, he is great as a man, as a thinker, and as a leader in the progress of hnmanity. lie is a disciple of Kant, but not his blind follower. He applies Kant's philosophy to practical life, but works it out in his own way. Especially in his religious convictions Schiller is far ahead of his time. He points out a wa\- of conservative advance along the lines of liberty and reverence, and so the opposition in which he stands to the narrow dogmatism of his age, is not a lack of religion but the surest evidence of a dee]) religious spirit. It pervades all his works and makes him a ])rophet of the religion of the future, a priest on the altar of mankind, and a poet of the eternal ideals of life. THE POET'S BIOGRAPHY. The great poet's father, Johann Kaspar Schiller, was born Oc- tober ij, 1723. in Bittenfeld, near Waiblingen. He was" the son of Johann Schiller, the mayor of the village, and his wife, Eva Maria, whose maiden name was Schatz. Schiller's father was a military surgeon. He served both as soldier and as army physician, especially in Holland. After his marriage, in 1749, he settled in Marbach. In 1753 he entered the Wiirttemberg army and fought against Prussia in 1758. -
DRAMA Schiller’S Don Carlos: the Concept of the Sublime Opera and Theater Productions Grace Washington, D.C
Click here for Full Issue of Fidelio Volume 10, Number 2, Summer 2001 DRAMA Schiller’s Don Carlos: The Concept of the Sublime Opera and Theater Productions Grace Washington, D.C. hether it was intended as such or Wnot, the unprecedented, nearly simultaneous performances of Friedrich Schiller’s “dramatic poem,” Don Carlos, both in an English-language Washing- ton premiere at the Shakespeare The- atre, and in Verdi’s Italian operatic ver- sion (Don Carlo) at the Kennedy Center, represented a significant political-cul- tural intervention in the nation’s capital during the first weeks of the incoming Bush Administration. Certainly the ref- erences to auto da fé (burning of heretics) in the play, and the actual scene in the opera, as well as the horror of the Grand Inquisitor, brought to mind the current Administration’s commitment to the death penalty, and the dangers inherent in its right-wing, so-called Christian Carol Rosegg Fundamentalist popular base, as reflect- Robert Sella as Don Carlos and Enid Graham as his stepmother Queen Elizabeth, in the ed in the Bush Administration’s Faith- Shakespeare Theatre production of Friedrich Schiller’s “Don Carlos.” Based Initiative and its Attorney Gener- al John Ashcroft. In addition, the two it was a joy to see this play performed in the sale of Hessian mercenaries to the performances provided a unique oppor- the United States, and I would hope that British during the American Revolu- tunity to see the same poetic ideas devel- director Michael Kahn and the Shake- tion—Schiller’s passion is for republican oped in two different, but related, speare Theatre, which also performed freedom, as against an oligarchical media: drama and opera. -
Schiller's Don Carlos in a Version by Mike Poulton, Directed
Schiller’s Don Carlos in a Version by Mike Poulton, Directed by Michael Grandage: The Multiple Names and Voices of Translation Geraldine Brodie Theatre provides an overt display of the protagonists and processes of translation but has its share of hidden participants. This case study reviews the multiplicity of voices active in translation, the extent of their contributions, and their visibility to the reader of the published text, or audience of the performance. Keywords : theatre translation, adaptation, version, literal translation, indirect translation Au théâtre, les processus de traduction ainsi que leurs protagonistes se manifestent ouvertement, mais il ne faut pas pour autant oublier l’existence de participant(e)s caché(e)s. Cette étude de cas examine la multiplicité de voix impliquées dans la traduction, l’ampleur de leur contribution ainsi que leur visibilité, soit pour les lecteurs du texte publié soit pour les spectateurs de la représentation. Mots clés : traduction théâtrale, adaptation, version, traduction littérale, traduction indirecte. Introduction A modern adapter must redesign the architecture of an eighteenth-century play, and make provision for updating its tone, its style, and the method of delivery of its lines, before approaching his work on the words themselves. […] I owe a great deal to the excellent cast and director of the first production of Don Carlos.1 In his brief introduction to his new version of Friedrich Schiller’s Don Carlos, Mike Poulton sets out his approach to the translational task of shifting a playtext into English for production on stage. Revealing the performance considerations and collaborative inputs which are prominent features of theatre translation, he acknowledges the variety of voices which combine to form the presented translation.