353 research outputs found
Exercitatio De Ratione Belli Vulgo Raison De Guerre / Quam Praeside ... Dn. Ulrico Obrechto ... In Illustri Argentoratensium Academia A. d. 17. Aprilis Solenniter defendet Magnus Hermannus Fuchs, Suecus Holmiensis
No full textEXERCITATIO DE RATIONE BELLI VULGO RAISON DE GUERRE / QUAM PRAESIDE ... DN. ULRICO OBRECHTO ... IN ILLUSTRI ARGENTORATENSIUM ACADEMIA A. D. 17. APRILIS SOLENNITER DEFENDET MAGNUS HERMANNUS FUCHS, SUECUS HOLMIENSIS
Exercitatio De Ratione Belli Vulgo Raison De Guerre / Quam Praeside ... Dn. Ulrico Obrechto ... In Illustri Argentoratensium Academia A. d. 17. Aprilis Solenniter defendet Magnus Hermannus Fuchs, Suecus Holmiensis (1)
Titelblatt (1)
De Ratione Belli (3)
Widmungsgedicht (44
Hans Magnus Enzensberger, Reiner Kunze. Traductions et imitations : la fracture du trait
No full textDans l’anthologie Geisterstimmen (1998) où il regroupe certains apports personnels de ses anthologies précédentes Museum der modernen Poesie (1960) et Wasserzeichen (1985), Hans Magnus Enzensberger associe, sans pseudonyme mais en un dispositif où tout est fait pour déjouer le regard du lecteur, 164 traductions et 26 imitations. Un détour par la clarté des définitions et témoignages que Reiner Kunze propose de la traduction comme Nachdichtung ou réécriture poétique dans ses conférences d’esthétique de 1988 (Das weiße Gedicht), permet de comprendre l’enjeu de cette « fête des fleurs » d’un genre inédit que l’auteur fait passer « en contrebande » dans la langue poétique allemande : sous couvert de jeu de masques, sous les voix de ses « compagnons de lutte » et avec elles, retentit en creux, en filigrane, sur le mode rieur, la poétique d’Enzensberger et son enjeu utopique. Dans cette poétique à la fois sienne et autre, dans cet authentique Wasserzeichen, des résonances de Goethe, d’Adorno, de Pablo Neruda notamment, se fondent en une variante contemporaine, jouée sur le mode mineur de la fracture (Bruch), de la poétique nietzschéenne, si ce n’est hesséenne de l’allégresse.1998 erschafft Enzensberger eine Anthologie der « anderen » Art: in Geisterstimmen wird eine Auswahl von eigenen Übersetzungen und Imitationen der früheren Sammelwerke Museum der modernen Poesie (1960) und Wasserzeichen (1985) zwar ohne Pseudonym doch in hoher Spielkunst zu einem Irrgarten aufgebaut, dessen Verlauf die poetischen Grundzüge des Autors verzerrt widerspiegelt. Der Umweg über das Klare der Definitionen und Zeugnisse, die Reiner Kunze in seinen Poetikvorlesungen der « Nachdichtung » widmet, lässt das Poetologische an diesem « Blumenfest » aufleuchten, das Enzensberger in die deutsche Sprachkunst hineinschmuggelt: unter den fremd-heimischen Namen und Stimmen seiner « Mitstreiter » bricht filigran die eigene Poetik durch, ihr utopischer Schall klingt an Goethe, Adorno und Neruda an, um eine zeitgenössiche Variante in Moll des « Bruchs » von Nietzsches, wenn nicht Hesses Poetik der Heiterkeit aufzuspielen.With his Geisterstimmen, Enzensberger conceives in 1998 a new kind of anthology: some of his own translations and imitations from the former anthologies Museum der modernen Poesie (1960) and Wasserzeichen (1985) are artfully combined to build a labyrinth reflecting the distorted features of the author himself. Clear and lucid as they are, the definitions and testimonies that Reiner Kunze gives in his lectures of poetics (Das Weiße Gedicht) of translation as a free and sacrilegious rewriting, bring Enzensbergers “feast of flowers" to reveal itself as indirect poetics: behind the masks, under and with the voices of his “comrades-in-arms", the lyrical voice of the “smuggler"-translator breaks through with its utopical and political note. In this authentic watermark, consonances to Goethe, Pablo Neruda, also Adorno, melt into a contemporary variant of the poetics of joy (Heiterkeit) elaborated by Nietzsche or even Hermann Hesse
Unsere Familienchronik !! : geführt vom sel. Grosspapa Itzig Behrend in jüdisch-deutscher Schrift /
No full textIn part I Itzig Behrend describes rural Jewish life in the first half of the 19th century, esp. the situation during Napoleonic period and the revolutionary events of 1830. Also changes in Jewish tradition. In part II (written in 1904) Gotthelf Behrend gives a detailed account of his school years in the Jacobsohn school in Seesen . Mentions also revolutionary events of 1848 (translated from Judeo-German)Contains also family tree and photocopied picture of the family's ancestors.Itzig Behrend (1765-1845), author of part I was a Jewish merchant in Nenndorf, a village of Kurhessen (near Kassel). Gotthelf Behrend, author of part II attended the Jacobsohn school in Seesen and was working in a textile store in Hanover.Brief summary in Max Kreutzberger: "Leo Baeck Institute New York, Bibliothek und Archiv; Katalog": C27Published in Monika Richarz: "Juedisches Leben in Deutschland": Vol. I, 1Family treesHanoverBusiness and economic historyDiariesDomestic life; 19th cent.Education, primary and secondaryJewish communitiesProfessions and occupations; textile merchantsTextile and clothing industryBonwitt familyBurckhard famil
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The operas of J. N. von Poissl (1783-1865) aesthetics and ideology
No full textThe Bavarian composer Johann Nepomuk von Poissl was regarded by many in the second decade of the nineteenth century as German opera’s greatest hope. Though neglected by
later musicology, in his day Poissl was a central figure in the aesthetic discourses surrounding opera, being prominent as a composer, librettist, translator, journalist and
director of the Munich Court Theatre. He was also a profoundly ideological artist, expressing in his operas a distinctive vision of Bavarian nationhood and of the wider
German identity.
This thesis represents the first substantial study of Poissl’s operatic oeuvre. It is based on a detailed reading of his thirteen surviving operas, all unpublished. It uses many previously untranscribed and untranslated sources. It shows how Poissl, in his prose writings as well as his operas, addressed what he and his contemporaries saw as the fundamental aesthetic values of opera. It also shows that several of Poissl’s works were a response to specific
political, ideological and cultural issues. These include the Franco-Bavarian alliance, the post-Napoleonic settlement and the Catholic restoration of Bavaria under King Ludwig I.
These threads are drawn together in a case study of Poissl’s opera Athalia (1814). This considers not only the literary and musical form of this piece but also its ideological content. It shows how Poissl’s particular vision of nationhood and faith was embedded not only in Athalia’s text but also in its music. It clarifies the dialogue-based form in which the opera was originally performed. It suggests that Poissl’s later addition of recitatives to Athalia not only obscured the dramatic and musical strengths of this particular work, but also gave rise to musicological misconceptions which have distorted and restricted our view of Poissl’s oeuvre as a whole
The Symbolics of Death and the Construction of Christian Asceticism: Greek Patristic Voices from the Fourth through Seventh Centuries
No full textThis thesis examines the role which death plays in the development of a uniquely Christian identity in John Climacus’ seventh-century work, the Ladder of Divine Ascent and the Greek ascetic literature of the previous centuries. I argue that John Climacus deploys language of death, inherited from a range of Greek Christian literature, as the symbolic framework within which he describes the ascetic lifestyle as developing a Christian identity. This framework is expressed by thee ascetic practice of ‘memory of death’ and by practices of renunciation described as ‘death’ to oneself and others.
In order to understand Climacus’ unique achievement in regard to engagement with death it is necessary first to situate the Ladder and its author within the literature of the Greek ascetic tradition, within which Climacus consciously wrote. In the Introduction I develp ways Climacus draws on and develops traditional material, while arguing that it must be treated and interpreted in its own right and not simply as his ‘sources.’ I then examine the vocabulary of death and the lines of thought opened up in the New Testament. Chapter One argues that the memory of death plays an important role in Athanasius’ Vita Antonii. Chapter Two surveys material from the fifth- and sixth-century Egyptian and Palestinian deserts in which memory and practice of death are deployed in a wider variety of ways and are increasingly connected to ascetics’ fundamental understanding of self and salvation. Chapter Three examines the sixth-century Quaestiones et Responsiones of Barsanuphius and John of Gaza in which further elaboration of the same thematic is discernible. Chapter Four concludes this thesis with a sustained reading of John Climacus’ Scala Paradisi in which the various thematics centring on memory and practice of death are synthesized into the existential framework and practical response, respectively
Effektivität und Effizienz von Online-Hilfesystemen in deutschen Universitäts-OPACs
No full textToday, almost always Online Public Access Catalogues (OPACs) are the only way to access library collections, but practical experience shows that users have problems dealing with electronic catalogues. The author therefore recommends that any good OPAC needs an elaborated online help system. The present master thesis surveys implemented online help systems in German university OPACs and gives a critical discussion. Beyond the variety of help texts, the author also includes help systems like spell check, search filters for results and recommender. On one hand, the analysis is based on a function-related classification of those help systems and on the other, the introduction of the terms effectiveness and efficiency serve as parameters to determine the usefulness of a help system. As a result, the author presents basic principles for an efficient help system that are based on the findings of this master thesis
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