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Tytuł:
ПСИХОЛОГИЯ ЛЮБВИ В „ТАИНСТВЕННЫХ ПОВЕСТЯХ” И.С. ТУРГЕНЕВА
Psychology of Love in the “Mysterious Stories” by Turgenev
Autorzy:
Bazilevskaâ, Aèlita
Powiązania:
https://bibliotekanauki.pl/articles/444725.pdf
Data publikacji:
2009-12-01
Wydawca:
Uniwersytet Warmińsko-Mazurski w Olsztynie
Tematy:
personality,
secret psychology,
tragic sense of love,
laws of love,
mystery,
supersensual,
Turgenev,
Goethe,
Faust
Opis:
Last years of I.S. Turgenev’s life are marked by his increased interest in problem of the inexplicable, supernatural, strange. Mystery of love and laws of love are on the foreground of his “mysterious stories” written in 1870-1880-ies. Peripetias of love feeling are conjugated to activity of the supersensual, irrational within mentality of heroes, to their hereditary links, unintentional faults, misgivings and insights. The concealed and obvious, conscious and unconscious in human more often are conveyed not in traditional Turgenevian way of “secret psychology”, but in artistic means similar to the style of Tolstoy and Dostoyevsky: through inner monologue, developed inner dialogue and portrait dynamics. In the psychological descriptions which not seldom are grotesque the writer’s notions of mysterious powers subjugating the personality, of “tragic sense of love” are concretized.
Źródło:
Acta Neophilologica; 2009, XI; 129-149
1509-1619
Pojawia się w:
Acta Neophilologica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Проблемы архитектуры в теоретической концепции Иоганна Вольфганга фон Гёте
Architektoniczne problemy w teoretycznej koncepcji Johanna Wolfganga von Goethego
Architectural problems in the theoretical concept of Johann Wolfgang von Goethe
Autorzy:
Kozar, N.
Powiązania:
https://bibliotekanauki.pl/articles/2068521.pdf
Data publikacji:
2012
Wydawca:
Politechnika Częstochowska
Tematy:
architektura
estetyka
Goethe Johann Wolfgang von
architecture
aesthetics
Opis:
Przedstawiono analizę zmiany stosunku do starożytności i średniowiecza w estetycznej koncepcji Johanna Wolfganga von Goethego. Szczegółowo przeanalizowany jest artykuł .„Architektura” (1795), po raz pierwszy przetłumaczony na język rosyjski przez N. Kazhar (1997).
This paper deals with changing attitudes to antiquity and the Middle Ages in the aesthetic concept of Johann Wolfgang von Goethe. The article „Architecture” (1795), first translated into Russian by N. Kazhar (1997), is discussed in details.
Źródło:
Zeszyty Naukowe Politechniki Częstochowskiej. Budownictwo; 2012, 18 (168); 78--87
0860-7214
Pojawia się w:
Zeszyty Naukowe Politechniki Częstochowskiej. Budownictwo
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Goethes und Schillers "Xenien" – ein klassisches Werk?
Autorzy:
Dörr, Volker C.
Powiązania:
https://bibliotekanauki.pl/articles/1032498.pdf
Data publikacji:
2014-12-30
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Goethe
Schiller
Schwarzbauer
Xenie
pochód karnawałowy
klasyka weimarska
carnival procession
Weimar classicism
Karnevalszug
Weimarer Klassiker
Opis:
Der Entstehungsprozess von Goethes und Schillers Xenien wird skizziert und in den (sozial-)historischen Kontext des sich formierenden literarischen Marktes eingeordnet. Ausgehend von der Beobachtung Franz Schwarzbauers, dass die Xenien einen „epigrammatischen Karnevalszug“ formieren (SCHWARZBAUER 1993:317), wird noch einmal nach der Dimension des Karnevalesken gefragt. Die Antwort auf diese Frage wird in Relation zu den Grundzügen der ästhetischen Doktrin der Weimarer Klassiker gesetzt.
Artykuł szkicuje proces powstania Xenii Goethego i Schillera i włącza w społeczno-historyczny kontekst powstającego literackiego rynku. Wychodząc z obserwacji Franza Schwarzbauera (SCHWARZBAUER 1993:317) stwierdzających, ze Xenie tworzą „epigramatyczny pochód karnawałowy“, artykuł podejmuje pytanie o wymiar zawartego w nich elementu karnawalizacji. Odpowiedź nawiązuje do głównych założeń estetycznej doktryny klasyków weimarskich.
The essay lays out the production of Goethe’s and Schiller’s Xenien and situates it in the (socio-)historic context of the evolving literary market. Starting with Franz Schwarzbauer’s observation, due to which the Xenien form an „epigrammatischen Karnevalszug [epigrammatical carnival procession]“ (SCHWARZBAUER 1993:317), the analysis once more inquires about the dimension of the carnivalesque. The result of this inquiry is put in relation to the main features of Weimar Classicism’s aesthetic doctrine.
Źródło:
Convivium. Germanistisches Jahrbuch Polen; 2014; 119-140
2196-8403
Pojawia się w:
Convivium. Germanistisches Jahrbuch Polen
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Prevod in svetovna književnost
Literatura światowa a przekład
Translation and World Literature
Autorzy:
Juvan, Marko
Powiązania:
https://bibliotekanauki.pl/articles/971857.pdf
Data publikacji:
2014-10-01
Wydawca:
Wydawnictwo Uniwersytetu Śląskiego
Tematy:
literarni prevod
svetovna književnost
literarni sistemi
primerjalna književnost
Goethe Johann W.
przekład literacki
literatura światowa
systemy literackie
literatura porównawcza
literary translation
world literature
literary systems
comparative literature
Opis:
Znotraj nacionalnih literarnih sistemov je bila prevodna literatura v primerjavi z izvirno ustvarjalnostjo tradicionalno dojeta kot drugorazredna, čeprav so prav prevodi v te sisteme vnašali najbolj reprezentativna dela svetovne književnosti (Eysteinsson). Ne glede na to, ali svetovno književnost razumemo kot vsoto literatur v jezikih sveta, kanon najboljših literarnih del človeštva ali globalni prostor medliterarnosti, je prevod zanjo konstitutiven. Domnevna univerzalnost svetovne književnosti se namreč v partikularne sisteme vpisuje variantno, predvsem prek perspektiv prevodov, ki so vodilna oblika medkulturnega obtoka literarnih del. Ker je z vidika kulturnega nacionalizma literatura v domačem knjižnem jeziku veljala za kronski dokaz narodne identitete in ustvarjalne samoniklosti, je bila vloga prevoda pogosto razvrednotena in zamejena v kulturno potrošnjo. V prvi polovici 19. stoletja sta kvaliteta in bogastvo prevodnega repertoarja vendarle postala tudi nekakšen mednarodni kriterij za vrednotenje dosežene kulturne ravni naroda in razvitosti njegovega knjižnega jezika. Že postpozitivistična komparativistika je prevod upoštevala kot pomembnega posrednika v mednarodnih literarnih stikih (npr. Ocvirk), a šele sodobna translatologija je refleksijo prevoda proti koncu 20. stoletja povzdignila v teorijo, s katero je utemeljila paradigmatske spremembe metod za obravnavo celotnega sklopa literature, tako v nacionalni kakor primerjalni literarni vedi (Bassnett, Even-Zohar). Na zvišanje vrednosti prevoda v literarni vedi na začetku 21. stoletja odločilno vpliva globalna renesansa Goethejeve Weltliteratur. Dobro desetletje za Ďurišinovo teorijo svetovnega literarnega sistema se z reinterpretacijami Goetheja razvija literarnovedna paradigma, ki skuša preseči nacionalne literarne zgodovine, primerjalno književnost in postkolonialno kritištvo (Lawall, Casanova, Moretti, Damrosch idr.). Toda prevod je bil ključna podlaga že za zgodovinsko genezo izvorne koncepcije Weltliteratur, s katero je Goethe hotel promovirati humanistični estetski kozmopolitizem, ustvarjalno revitalizirati nacionalne literature in uveljaviti nemško književnost kot novo žarišče mednarodnega literarnega življenja. Članek se posveča vprašanju, kako je bila izkušnja s prevodi vpletena v Goethejevi ideji obtoka in refleksije sebstva v drugem in kakšno reinterpretacijo so te koncepcije nedavno doživele pri Damroschu in Thomsenu. Goethe je z bralnim sopostavljanjem del iz evropskih in »orientalskih« književnosti, ki so mu bila dostopna v izvirnikih ali prevodih, motril svojo literarno-kulturno identiteto in odkrival nove plasti estetskega doživljanja. Prevod je nasploh vodilni modus transnacionalnega literarnega obtoka in medkulturnega dialoga, a tudi globalizacije zahodne geokulture in prevlade njenega estetskega diskurza. Prevod je namreč podvržen asimetrijam svetovnih sistemov ekonomije, jezikov, politike in literature. Dostop besedila do obtoka v svetovnem literarnem prostoru je odvisen tudi od tega, ali je bilo to delo ustvarjeno v katerem od »velikih« zahodnih jezikov oziroma ali je bilo v kak globalni jezik prevedeno.
Compared to the original production within national literary systems, literary translations are traditionally regarded of lesser importance, although it is through translating that the representative works of world literature have been introduced into these very systems (Eysteinsson). The translation is constitutive of world literature, be it understood either as an aggregate of literatures expressed in all the languages of the globe, the canon of “eternal” artworks of humankind, or as the global space of inter-literary relations. The presumed universality of world literature is always already inscribed in particular literary systems through different variants and perspectives articulated by translations, the latter representing the most prominent form of cross -cultural circulation of literature. Since cultural nationalism saw literature in the standard mother tongue as the pillar of national identity and the main evidence of the nation’s creative originality, literary translations were often discarded as mere derivatives restricted to the realm of cultural consumption. In the first half of the 19 th century, however, the quality and richness of the translation repertoire began to figure also as quasi-international standards for evaluating to what degree the particular “national” language and culture were developed. As early as post-positivist comparatistics, the translation was treated as an important factor of international literary mediation (e.g. Ocvirk), but it is only the late twentieth-century translation studies that raised the reflection on translation to the level of theory enabling to ground a paradigmatic shift of methods for the entire study of literature, in national and comparative literary studies alike (Bassnett, Even-Zohar). The valorization of translation that is going on since the beginning of the 21st century has been decisively influenced by the global renaissance of Goethe’s Weltliteratur. More than a decade after Ďurišin’s theory of the world literary system and based on the reinterpretations of Goethe’s notion of world literature, a new scholarly paradigm is in full swing that attempts to transcend national literary history, comparative literature, and postcolonialism (Lawall, Casanova, Moretti, Damrosch, etc.). However, the translation was of key importance already in the historical beginnings of the conception of Weltliteratur, with which Goethe aimed at promoting humanist aesthetic cosmopolitanism, creatively reviving national literature and establishing German literature as a new hub of international literary life. The present article focuses on how experiencing translations had formed Goethe’s ideas of circulation and the self-reflection through otherness and how these ideas were recently reinterpreted by Damrosch and Thomsen. Juxtaposing works of various European and “Oriental” literatures (either in the original or in translation), Goethe reflected on his literary and cultural identity and discovered new qualities of his aesthetic experience. Generally speaking, the translation — because of its position within the asymmetries of the world systems of economy, languages, and literatures — is not only the primary mode of transnational literary circulation and cross-cultural dialogism, but also the relay for the global spread of Western geo-culture and the hegemony of its aesthetic discourse. The possibility of a particular literary text to gain access to the global literary circulation depends, among other factors, on the fact whether the work in question has been produced in a “major” Western language or has been translated in a global language.
Źródło:
Przekłady Literatur Słowiańskich; 2014, 5, 1; 15-51
1899-9417
2353-9763
Pojawia się w:
Przekłady Literatur Słowiańskich
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Światopogląd Johanna Wolfganga Goethego i antropozofia Rudolfa Steinera
Worldview Johann Wolfgang Goethe and Anthroposophy of Rudolf Steiner
Autorzy:
SAŁDAN, Switłana
Powiązania:
https://bibliotekanauki.pl/articles/454100.pdf
Data publikacji:
2014
Wydawca:
Uniwersytet Humanistyczno-Przyrodniczy im. Jana Długosza w Częstochowie. Wydawnictwo Uczelniane
Tematy:
antropozofia
muzyka
estetyka muzyczna
Johann Wolfgang Goethe
Rudolf Steiner.
anthroposophy
music
musical aesthetic
Rudolf Steiner
Opis:
The communicate presents the worldview on the art, including the music of the famous German poet and philosopher of the turn of 18th/19th century, Johannes Wolfgang Goethe and the aesthetic views of Rudolf Steiner (1861–1925).
W artykule przedstawiony został światopogląd na sztukę, w tym na muzykę, słynnego niemiec- kiego poety i filozofa przełomu XVIII/XIX wieku Johannesa Wolfganga Goethego oraz poglądy estetyczne Rudolfa Steinera (1861–1925).
Źródło:
Edukacja Muzyczna; 2014, 9; 149-158
2545-3068
Pojawia się w:
Edukacja Muzyczna
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The ‘Faust’ or ’Lucifer’ Sonata? On Liszt’s idea of programme music as exemplified by his Piano Sonata in B minor
Autorzy:
Polony, Leszek
Powiązania:
https://bibliotekanauki.pl/articles/780369.pdf
Data publikacji:
2014
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Franz Liszt
Piano Sonata in B minor
programme music
Tibor Szasz
Marta Grabocz
John Milton
Paradise Lost
Johann Wolfgang Goethe
Faust
Opis:
The musicological tradition places Liszt’s Sonata in B minor within the sphere of compositions inspired by the Faustian myth. Its musical material, its structure and its narrative exhibit certain similarities to the ‘Faust’ Symphony. Yet there has appeared a different and, one may say, a rival interpretation of Sonata in B minor. What is more, it is well-documented from both a musical and a historical point of view. It has been presented by Hungarian pianist and musicologist Tibor Szasz. He proposes the thesis that the Sonata in B minor has been in fact inspired by Milton’s Paradise Lost, with its three protagonists: Adam, Satan and Christ. He finds their illustrations and even some key elements of the plot in the Sonata’s narrative. But yet Milton’s Paradise Lost and Goethe’s Faust are both stories of the Fall and Salvation, of the cosmic struggle between good and evil. The triads of their protagonists - Adam and Eve, Satan, and Christ; Faust, Mephisto and Gretchen - are homological. Thus both interpretations of the Sonata, the Goethean and the Miltonian, or, in other words, the Faustian and the Luciferian, are parallel and complementary rather than rival. It is also highly probable that both have had their impact on the genesis of the Sonata in B minor.
Źródło:
Interdisciplinary Studies in Musicology; 2014, 13; 17-28
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Comics, Adoptionen oder doch das Original? – Goethes Faust im kompetenzorientierten Deutschunterricht.
Autorzy:
Kuzminykh, Ksenia
Powiązania:
https://bibliotekanauki.pl/articles/915102.pdf
Data publikacji:
2015-12-14
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Goethe
comics
children literature
history of German- literature-lessons
world literature
reading comprehension
methods
cross cultural reading.
Opis:
Goethe’s Faust was long defined in Germany as an established part of literature lessons and as a part of canon, but a paradigm change in didactics and in literature science has challenged both. This essay takes a brief look at history of German-literature-lessons and at different methods of teaching and reading literature, especially Goethe’s Faust – analytical, productive and creative. It gives a survey about children’s books to Faust, comics and summaries and demonstrates the correlation between knowledge and reading comprehension.
Źródło:
Glottodidactica. An International Journal of Applied Linguistics; 2015, 42, 2; 153-167
0072-4769
Pojawia się w:
Glottodidactica. An International Journal of Applied Linguistics
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Diabeł w operze. „Pajac” Tomasza Manna w kontekście „Fausta” Johanna Wolfganga Goethego
The devil in the opera: “The clown” by Thomas Mann in the context of “Faust” by Johann Wolfgang Goethe
Autorzy:
Pilipowicz, Andrzej
Powiązania:
https://bibliotekanauki.pl/articles/967400.pdf
Data publikacji:
2015
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
German Literature
French Opera
Mann
Goethe
Gounod
Opis:
The protagonist of Thomas Mann’s short story "The Clown" ("Der Bajazzo") cannot became an artist because he hasn’t got enough talent. He is also unable to live among people as an ordinary citizen because his social competencies haven’t been completely developed. That is why he can be regarded as a literary figure who tries to leave the real world and to penetrate the literary world. The devil who appears in Charles Gounod’s opera "Faust" based on Johann Wolfgang Goethe’s drama "Faust" and who is watching the protagonist from the stage during the opera performance seems to be the only person who can help him to find his existential space.
Źródło:
Acta Universitatis Lodziensis. Folia Germanica; 2015, 11; 193-211
2449-6820
Pojawia się w:
Acta Universitatis Lodziensis. Folia Germanica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Andauernde Feier des Heiligen. Über Goethes panhierarchische Religiosität
A Continual Celebration of Sanctity. On Goethe’s pan-hierarchical religiousness
Autorzy:
Freter, Björn
Powiązania:
https://bibliotekanauki.pl/articles/1364909.pdf
Data publikacji:
2016-04-19
Wydawca:
Uniwersytet Gdański. Wydawnictwo Uniwersytetu Gdańskiego
Tematy:
Johann Wolfgang von Goethe – religiousness – sanctity – pan -hierarchism – metaphysics of
immanence
Johann Wolfgang von Goethe – Religiosität – Heiligkeit – Panhierarchismus – Immanenzmetaphysik
Opis:
Goethes Religiosität zeichnet sich durch eine Vielzahl von kritischen und produktiven Aneignungen aus. Unsere Studie konzentriert sich auf die Aneignungen aus der Philosophie und dem Neuen Testament. Es geht Goethe um das Heilige, das im Ursprung aller Dinge liegt und um die andauernde Feier dieses Heiligen.
Goethe’s religiousness is characterised by a plethora of critically and productively adopted elements. Our study will focus on the adopted elements from the field of philosophy and from the New Testament. Goethe is most of all concerned with the sacred that is present in the origin of all things, and with the continual celebration of this sanctity.
Źródło:
Studia Germanica Gedanensia; 2016, 34; 28-36
1230-6045
Pojawia się w:
Studia Germanica Gedanensia
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Goethe a Lem
Autorzy:
Gomułka, Łukasz
Powiązania:
https://bibliotekanauki.pl/articles/2151241.pdf
Data publikacji:
2017
Wydawca:
Instytut Studiów Międzynarodowych i Edukacji Humanum
Tematy:
Faust
Goethe
Lem
literature
philosophy
Opis:
In this article ‘Lem and Goethe’, the author compares the figure of Stanislaw Lem to J.W. Goethe, whereas Lem’s oeuvre to ‘Faust’. There are two reasons for such a comparison. First, the scope of subjects raised by the Polish writer is perhaps even wider than the German one’s. The second thing is their great insight into these subjects. When Lem and Goethe are compared, it should be noticed that both their personalities (certain openness to the world and environment, participation in discussions, vast correspondence) and artistic and scientific interests (distinct exceeding limits by both of them) are similar. The author of the article takes notice of the fact that there is a tremendous difference between Lem’s works and ‘Faust’, because Lem’s are structurally and formally scattered. While there is no doubt that ‘Lem is also a philosopher writing great novels, not a novelist that possesses his own philosophy, like many others’ and that such output is ‘cognitively homogenous’, such state of affairs significantly hinders reception and interpretation of his oeuvre. The author of the text observes that by contrast with ‘Faust’, the character of Lem’s works is scattered not only in terms of content but also formally. That is because the author of ‘Summa Technologiae’ continually adopted new means of expression for his thoughts.
Źródło:
Prosopon. Europejskie Studia Społeczno-Humanistyczne; 2017, 4(21); 40-49
1730-0266
Pojawia się w:
Prosopon. Europejskie Studia Społeczno-Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Reise in ein fernes Land. Skandalös – und doch kein Skandal
Reise in ein fernes land [journey to a faraway land] scandalous – and yet no scandal
Autorzy:
Kuropka, Joachim
Powiązania:
https://bibliotekanauki.pl/articles/679737.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
travel literature
Goethe
Schummel
Döblin
Feuchtwanger
GDR
political-fictional literature
Opis:
The travel reports about observations and experiences journalists of the weekly newspaper DIE ZEIT made while travelling in the GDR in the years 1964 and 1986 and which they published in books belong to the genre of travel literature (reference is made to Goethe, Schummel and Döblin). Both travels were made at the invitation of the government of the GDR and were allegedly completely free – but part of a “plan”. Due to the isolation resulting from the construction of the Berlin wall in 1961, both books met with great public interest. In their politically accented report, obviously designed to medially support the so-called “new East politics” of the Brandt government, the journalists paint a glowing picture, minimizing the reality of the party dictatorship, even though solid analyses of the actual conditions in the GDR were available. This can be compared to Lion Feuchtwanger’s “Moskau 1937” which he published “for his friends” about his travel to Moscow. However, the communist Feuchtwanger openly expressed his sympathy and characterized the Soviet Union as a dictatorship. To sum up, the reports of the ZEIT journalists can be classified as ‘political-fictional’ literature of purpose, on the one hand, because of their concealed political objective, and on the other hand, because the authors, due to their salon Marxist background, were, like Feuchtwanger, possibly of the opinion that they saw something “great”.
–
Źródło:
Acta Universitatis Lodziensis. Folia Germanica; 2017, 13; 47-60
2449-6820
Pojawia się w:
Acta Universitatis Lodziensis. Folia Germanica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Hamlet Project in Goethe’s Wilhelm Meister’s Years of Apprenticeship
Autorzy:
Kullmann, Thomas
Powiązania:
https://bibliotekanauki.pl/articles/648056.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
German theatre
French theatre
eighteenth century
Goethe
Hamlet
adaptation
society
aristocracy
middle class
bourgeois habitus
cultural capital
education
Globe-to-Globe Hamlet
Opis:
Goethe’s novel Wilhelm Meister’s Apprenticeship, published in 1795, provides a fictional account of a theatrical production of Shakespeare’s Hamlet. Its initiator is young Wilhelm, whose experiences with this project, in the context of the novel, mark a decisive stage in his education and personal development; as well as, on another level, in the formation of a German national theatre, the mapping out of a theatrical space peculiar to the German national character. To realize his project Wilhelm has to negotiate with his manager and his fellow-actors; these negotiations can be considered reflections of the cultural aspirations and constraints prevalent late 18th-century Germany: – The project itself, as represented by Wilhelm, appears to be informed by a cultural movement towards emancipation from French culture: The character of Hamlet was interpreted as representing a role model for young Germans. – Informed by a theatrical practice based on French conventions, the manager objects to the lack of dramaturgical coherence of the Shakespeare play. As a compromise, Wilhelm composes an adapted version in which references to Wittenberg, Poland, France and England as well as several minor characters are cut, but the Hamlet scenes and speeches are retained. – Wilhelm and his friends also take account of German audiences’ preferences and capacities.The Hamlet project in Wilhelm Meister can be considered a case study of cultural appropriation. Shakespeare becomes a cultural import, used to define and map a cultural space for the German middle class, which in the nineteenth century set store by the quality of its educational make-up.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2017, 15, 30; 147-159
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Zdeněk Fibich (1850–1900) and his Songs to Goethe: Forgotten Settings?
Zdeněk Fibich (1850–1900) i jego pieśni do słów Goethego – opracowania zapomniane?
Autorzy:
Kubečková, Barbora
Powiązania:
https://bibliotekanauki.pl/articles/514132.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
Tematy:
19th Century Song
Zdeněk Fibich
Johann Wolfgang von Goethe
Czech Lands
pieśń w XIX wieku
kraje czeskie
Opis:
Johann Wolfgang von Goethe (1749–1832) is considered as one of the most influential cultural figures of his age. His literary work attracted composers throughout the 19th century and beyond. Goethe himself appreciated musical settings of his literary works, as, in his opinion, lyrical poetry without music did not seem complete. One of the numerous composers who tackled Goethe’s words was Zdeněk Fibich (1850–1900), a Bohemian composer whose name is strongly associated with the genres of opera and melodrama. However, only little is known about his primary compositional attempts in the area of songs. Inspired by settings of Schubert and Schumann the composer was addressed by German poets such as Rückert, Heine, Eichendorff and Goethe. Moreover, song settings to both German and Czech literary models were emerging throughout Fibich’s life. Similarly to Schubert, Fibich’s first Lieder are dated back to his teen hood. Gefunden, Fibich’s first musical encounter with Goethe, was written as early as 1865. In my paper, I have examined nine settings to Wilhelm Meister Lehrjahren, which originated between 16 and 21 April 1871. Numerous reasons led me to examine these particular songs. Firstly, Fibich’s Goethe settings have been neglected by musicologists as well as performers. None of eleven vocal pieces have been published or recorded to date. Secondly, there is need for a comparative study of these songs with other settings to Goethe. My research addresses the lacuna in the 19th century song studies while asking the following questions: Do the songs have much to offer in comparison to songs by Schubert, Schumann, Wolf and others? What stands behind the omission of the songs? This paper is a starting point in uncovering the significance of forgotten Fibich’s Goethe settings.
Johann Wolfgang von Goethe (1749-1832) jest uważany za jedną z najbardziej wpływowych postaci kultury swego czasu, a jego dorobek literacki inspirował wielu kompozytorów dziewiętnastowiecznych i późniejszych. Sam Goethe cenił muzyczne opracowania swoich dzieł, gdyż jego zdaniem poezja bez muzyki nie wydawała się kompletna. Jednym z wielu kompozytorów, którzy inspirowali się wierszami Goethego, był Zdeněk Fibich (1850 1900), czeski kompozytor, którego nazwisko mocno związane jest z gatunkami opery i melodramatu. Niewiele jednak wiadomo o jego pierwszych próbach kompozytorskich w dziedzinie pieśni. Zainspirowany opracowaniami Schuberta i Schumanna kompozytor cenił takich niemieckich poetów, jak Rückert, Heine, Eichendorff i Goethe. Ponadto podczas całego życia Fibich sięgał po teksty poetów niemieckich i czeskich. Podobnie jak w przypadku Schuberta, pierwsze Lieder Fibicha pochodzą z czasów, kiedy Kompozytor był nastolatkiem. Gefunden, jego pierwsze muzyczne opracowanie tekstu Goethego, powstało już w 1865 roku. W niniejszym artykule przestudiowałem dziewięć opracowań tekstu Wilhelm Meister Lehrjahren, które powstały między 16 a 21 kwietnia 1871 roku. Do zbadania tych konkretnych pieśni skłoniły mnie liczne powody. Po pierwsze, utwory Fibicha do tekstów Goethego były długo zaniedbywane zarówno przez muzykologów, jak i wykonawców – dotychczas żaden z jedenastu utworów wokalnych nie został wydany ani zarejestrowany. Po drugie, potrzebne jest przeprowadzenie porównawczych studiów zestawiających te pieśni z innymi opracowaniami tekstów Goethego. Moje badania mają na celu wypełnić lukę, jaka powstała w badaniach nad gatunkiem pieśni w XIX wieku oraz odpowiedzieć na zaistniałe pytania: Jak pieśni Fibicha wypadają w porównaniu z pieśniami Schuberta, Schumanna, Wolfa i innych? Dlaczego dotychczas nie zostały przebadane? Ten artykuł został zamierzony jako punkt wyjścia dla ustalenia znaczenia zapomnianych pieśni Fibicha do tekstów Goethego.
Źródło:
Kwartalnik Młodych Muzykologów UJ; 2017, 3(34); 51-73
2956-4107
2353-7094
Pojawia się w:
Kwartalnik Młodych Muzykologów UJ
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
O kategorii созерцания w "Niepojętym" Siemiona Franka i jej niektórych filozoficznych korzeniach
On the category of созерцание in "The Unknowable" by Semyon Frank and some of its philosophical roots
Autorzy:
Woźniak, Monika
Powiązania:
https://bibliotekanauki.pl/articles/18656790.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Siemion Frank
ogląd
idealizm niemiecki
Goethe
созерцание
Anschauung
Semyon Frank
German idealism
Opis:
One of the most puzzling categories in The Unknowable by Semyon Frank is созерцание - a word close to German Anschauung and sometimes used as its translation. The aim of this article is to analyze the meaning of the category of созерцание in Frank’s book and to indicate some of its philosophical sources. First, I discuss the role the term Anschauung plays in the works of Kant and Goethe. The selection of these two authors allows, in my opinion, to describe both Frank's rooting in classical philosophy and the distinction of his approach. One can distinguish two different cognitive acts which are denoted by the word созерцание in Frank’s work: an immediate, non-discursive and synthetic cognition of objective being as well as the cognition of the unconditional being through experience that overcomes the subject- object relation. I argue that the importance of the synthetic and non-discursive intuitive cognition can be interpreted as Goethe's legacy in The Unknowable. Although Frank's usage of the term созерцание is rather far from Kant’s (which is evident in his neglect of the distinction receptive/spontaneous, fundamental in The Critique of Pure Reason), the problem Frank attempts to deal with, i. e. the possibility of the unconditioned cognition of being was important for the post-Kantian philosophers (Fichte among others) which makes Kant and the German Idealism a crucial context to understand it.
Źródło:
Internetowy Magazyn Filozoficzny Hybris; 2018, 41, 2; 43-60
1689-4286
Pojawia się w:
Internetowy Magazyn Filozoficzny Hybris
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Ta „poważna drobnostka”. Nowe wydanie Baśni Johanna Wolfganga Goethego
“Blessed are those who write fairy tales”. The new edition of The Green Snake and the Beautiful Lily of Johann Wolfgang Goethe
Autorzy:
Ćwiklak, Kornelia
Powiązania:
https://bibliotekanauki.pl/articles/1041230.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Johann Wolfgang Goethe
German romantic fairy tales
scientific interpretations
reception
Opis:
In this article, the author discusses and reviews the first Polish critical edition of Johann Wolfgang Goethe’s The Green Snake and the Beautiful Lily (2015). The literary text was preceded by two elaborate scientific descriptions which the author of this article refers to. The primary focus is on the extensive German tradition of interpreting The Green Snake and the Beautiful Lily (Das Märchen, 1795), because the main spur of its development is the difficulty or inability to obtain its unambiguous interpretation due to the high degree of symbolism and the esotericism of this literary work. Both critical texts feature the following interpretation grounds: historic-literary – emphasizing the role of the literary circle of the Weimar Goethe and Schiller; historical – stressing the importance of the events associated with the French Revolution and its impact on the situation in Germany; philosophical – represented by Rudolf Steiner and his anthroposophic reading of this work; and poetological – focusing on the properties and functions of its poetics. Among the existing explication there is a lack of genology of the fairy tales and a lack of the placing the work in a broader context of ideas and works of Goethe, which, if taken into account could help to clarify its meanings.
Źródło:
Poznańskie Studia Polonistyczne. Seria Literacka; 2018, 34; 309-324
1233-8680
2450-4947
Pojawia się w:
Poznańskie Studia Polonistyczne. Seria Literacka
Dostawca treści:
Biblioteka Nauki
Artykuł
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