Relevant bibliographies by topics / E T A (Ernst Theodor Amadeus)

Academic literature on the topic 'E T A (Ernst Theodor Amadeus)'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "E T A (Ernst Theodor Amadeus)"

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Saglietti, Benedetta. "Fifth Symphony by Ludwig van Beethoven According to Version by Ernst Theodor Amadeus Hoffmann." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 130 (March 18, 2021): 197–207. http://dx.doi.org/10.31318/2522-4190.2021.130.231272.

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The purpose of the article is to characterize the research of its author entitled “Beethoven’s Fifth Symphony in the version of E. T. A. Hoffmann. In the kingdom of infinity” (Saglietti B. La quinta sinfonia di Beethoven recensita da E. T. A. Hoffmann. Nel regno dell’infinito), published in Turin in 2020. The monograph presents new scientific works on the creative heritage by L. van Beethoven; the events having taken place after the first performance of the composer's Fifth Symphony are considered; its musicological analysis, written by E. T. A. Hoffman in 1810, is characterized; its place and role in Italian musicology are determined.The Fifth Symphony was first performed in Vienna on December 22, 1808, this concert performance was as famous as it was unfortunate. The complexity of the piece, its insufficient rehearsal preparation, and the restraint of the audience caused a partial fiasco of the premiere. Beethoven was furious and foresaw negative reviews. Fortunately, he was wrong. Seven months later, the director of the largest German music newspaper, the “Allgemeine Musikalische Zeitung”, sent to Bamberg the edition of the symphony for piano four hands and an extensive review by E. T. A. Hoffmann, who was the first to recognize the Fifth Symphony as a masterpiece, thus determining its fate. It is his critical review that is considered one of the first reviews of music in the history, in the modern sense. But in Italy this original version was forgotten. Later, in “Fantasiestücke in Callot’s Manier” (1814 — first edition, 1819 — second), the review was published in an abridged form under the title “Beethoven's Instrumental Music” and translated into Italian several times.The monograph compares Hoffmann's review with its later, abridged version of the essay, and presents the author's methodology of the first Italian annotated edition; the circle of readers to whom Hoffmann appealed is outlined, it is emphasized that the Italian scholars have long accepted the essay as a review. The essay has been translated into French and English and has been published many times in German.
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Korolyova, Vera V. "STYLISATION OF ‟HOFFMANN’S COMPLEX” IN THE STORIES BY ALEKSANDR CHAYANOV." Vestnik of Kostroma State University, no. 3 (2020): 159–64. http://dx.doi.org/10.34216/1998-0817-2020-26-3-159-164.

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The Hoffmann’s layer of intertext in the neo-romantic stories of Aleksandr Chayanov is manifested systematically in the form of «Hoffmann’s complex», which was formed at the turn of the 19th – 20th centuries and it is a part of «Hoffman text of Russian literature». Aleksandr Chayanov’s stories are his own modernist text, which includes not only features of Ernst Theodor Amadeus Hoffmann’s poetics, but also the totality of the subsequent of Hoffmann’s tradition, which was refracted in the works of Russian writers of the late 19th – early 20th century. One of the important aspects of the article is the analysis of individual elements of «Hoffmann complex», which are reflected in Aleksandr Chayanov’s stories (romantic irony and grotesque, psychologism, the problem of violent influence on the personality of another, the problem of echanisation of life and human, symbol images of the mask, doll, automaton, puppet and double, the symbol image of the mirror). Aleksandr Chayanov’s work becomes the final stage in the functioning of «Hoffmann’s complex « in the Fin de siècle and it is characterised by a conscious «play» with Ernst Theodor Amadeus Hoffmann’s style, images and plots, which allows us to talk about stylisation as one of the artistic techniques in Aleksandr Chayanov’s stories.
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Friedrich, Michał. "Wielość masek w Masce Stanisława Lema. Źródła, konteksty, powinowactwa." Papers in Literature, `10 (July 30, 2022): 73–89. http://dx.doi.org/10.31648/pl.7856.

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The paper is devoted to The Mask (Maska) by Stanisław Lem, one of the best known short stories in the literary output of this Polish novelist. The main goal of the article is to discuss the intertextuality of this tale which evokes many contexts, ranging from mythology, through medieval and baroque poetry, to contemporary science fiction artworks. The Mask recognizes a large variety of problems, such as the definition of humanity, human gender and sexuality, as well as crucial emotions like love and the will to survive. Due to its catalogue of subjects, this short story can be interpreted on various levels and from the perspective of various methodological strategies. The texts of culture mentioned in the essay include: Jacek Dukaj’s Gothic, Ernst Theodor Amadeus Hoffmann’s The Sandman, Hans Rudolf Giger’s artworks, and Bjork’s music video All Is Full of Love.
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Guerra, Felipe Do Monte. "SANGUE E AREIA: UM DIÁLOGO POSSÍVEL ENTRE E.T.A. HOFFMANN E MANUEL TEIXEIRA-GOMES." Abusões 18, no. 18 (September 30, 2022). http://dx.doi.org/10.12957/abusoes.2022.61236.

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Este artigo propõe uma análise comparativa entre os contos “Der Sandmann” (1816), do alemão Ernst Theodor Amadeus (E.T.A.) Hoffmann, e “Sede de sangue” (1909), do português Manuel Teixeira-Gomes. Embora tenham propostas narrativas e estilos diferentes, procura-se identificar um diálogo entre ambas as histórias, especialmente a forma como abordam a prática do voyeurismo.
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PUŞKİN, Mikail, and Davut DAĞABAKAN. "ANTONY POGORELSKY'DEN “LAFERTOVSKAYA MAKOVNITSA”: RUSYA ROMANTİK FANTASMAGORIA'NIN DOĞUŞU VE ERNST THEODOR AMADEUS HOFFMANN'IN “ALTIN TENCERESİ”." Uluslararası Dil Edebiyat ve Kültür Araştırmaları Dergisi, December 24, 2020. http://dx.doi.org/10.37999/udekad.810924.

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Guimaraes, Ana Rosa Gonçalves De Paula. "“OS DUPLOS” DE E. T. A. HOFFMANN: CONSIDERAÇÕES SOBRE A FRAGMENTAÇÃO ROMÂNTICA." Abusões 18, no. 18 (September 30, 2022). http://dx.doi.org/10.12957/abusoes.2022.58387.

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Ernst Theodor Wilhelm Hoffmann (1776-1822) foi um escritor romântico e um dos maiores representantes da literatura fantástica. O presente artigo apresenta um panorama acerca do escritor e discorre sobre a fragmentação no Romantismo, a qual o sujeito, em busca da unidade perdida, depara-se com os seus vários “eus” e com as suas divisões: o seu ser consciente e o seu ser inconsciente. O duplo no Romantismo, com isso, pode ser caracterizado como o desejo de reencontro e redescobrimento de si mesmo. Para isso, foi feito uma leitura interpretativa do referido escritor em Los Dobles [Os Duplos], cujos personagens Deodatus e George, considerados como duplos homogêneos, ao fundirem-se, por meio de “não-ditos” do círculo familiar, necessitam da conquista da diferenciação e da construção de suas identidades.
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Culéa-Hong, Eliza. "« On vit dans une utopie ; ce n’est juste pas la nôtre. » De More à Miéville : activisme, spatialité et métamorphose du registre utopique." K@iros, no. 5 (2021). http://dx.doi.org/10.52497/kairos.533.

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Abstract: Since the 1960s, it is more common to encounter criticism rather than praise for utopian ideas. In 1964, while moderating a debate between Ernst Bloch et Theodor Adorno, Horst Krüger stated that « [today] the word ‘utopia’ does not have a good sound to it ». Twenty years later, art historian Robert Hughes goes even further by saying that the xxth century was full of utopian propositions: « drawn, designed, sometimes even built, and in the process it was shown that ideal cities don’t work […]. It seems that like plants we do need the shit of others for nutriments ». However, after decades of rejection, in the work of some writers like China Miéville this mode is being reborn, albeit in a modified form often called « radical fantasy ». Considered by some as the direct descendant of utopia, it similarly puts front and center the figure of the activist searching for progressive social justice and economic equality, but treats the future as an indeterminate and unpredictable topic. This article takes advantage of this apparent resurrection and interest, in order to attempt to decipher our seemingly secular obsession for this shape-shifting genre. Our investigation will briefly summon Michael Gazzaniga’s research in neurobiology, followed by the works of Francesca Polletta in the sociology of social movements field, in order to draw a direct relationship between the act of storytelling and the birth and rise of new collective actors. The critical theory of science-fiction, formulated by the croato-canadian researcher Darko Suvin will allow us to dig deeper into the inner mechanisms of utopia, and to show how this rhetoric device sometimes manages to persuade its audience that its dream-like imagery either is or it should be real. This theoretical framework will be accompanied by two case studies, two utopian examples dating to the beginning of the XXth century: on one hand we will delve into the belligerent manifest of futurist architecture — born in 1914 from F. T. Marinetti’s words and Antonio Sant’Elia’s lines — and on the other, into the vulnerable and pacifist glass worlds imagined by the expressionist writer Paul Scheerbart and architect Bruno Taut. By putting these historic works in parallel with Miéville’s contemporary novel The City & The City (2009) — a reference point in radical fantasy — we aim to unveil the continuities and discontinuities between our historic understanding of the utopian mode and this new contemporary form.
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Dissertations / Theses on the topic "E T A (Ernst Theodor Amadeus)"

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Lindner, Henriett. ""Schnöde Kunststücke gefallener Geister" : E. T. A. Hoffmanns Werk im Kontext der zeitgenössischen Seelenkunde /." Würzburg : Königshausen & Neumann, 2001. http://catalogue.bnf.fr/ark:/12148/cb38963885d.

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Hoffmann, Alfred. "E. T. A. Hoffmann : Leben und Arbeit eines preussischen Richters /." Baden-Baden : Nomos Verlagsgesellschaft, 1990. http://catalogue.bnf.fr/ark:/12148/cb35543046s.

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Triebel, Odila. "Staatsgespenster : Fiktionen des Politischen bei E. T. A. Hoffmann /." Köln ; Weimar ; Wien : Böhlau, 2003. http://catalogue.bnf.fr/ark:/12148/cb38846125r.

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Dizengremel, Aurélie. "L'anthropologie de e. T. E. Hoffmann et son empreinte dans la litterature europeenne au xixe siecle une recherche centree principalement sur la france,la russie et les pays de langue anglaise au xixe siecle, avec une ouverture sur le xixe siecle." Paris 12, 2000. http://www.theses.fr/2000PA120030.

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Les nombreux paradoxes autour de l'empreinte laissee par le musicien et ecrivain allemand ernst theodor amadeus hoffmann font de ses oeuvres le sujet privilegie de controverses. Hoffmann, peu aime de ses contemporains allemands, a ete accueilli en france puis en russie et dans les pays de langue anglaise des les annees 1830 avec enthousiasme. Cet auteur, habituellement qualifie de "romantique", asurtout seduit les ecrivains dits "realistes", tout en introduisant une theorie du fantastique jusqu'alors inconnue. Ses partisans se recrutent dans les courants litteraires, culturels et politiques les plus differents. Son influence ne se limite pas a la litterature, mais touche aussi les arts et le developpement des idees en europe au xixe, puis au xxe siecle. Il apparait cependant opportun de s'attacher aux trois pays principalement concernes: la france (avec nodier, gautier, balzac, merimee, nerval, baudelaire, villiers de l'isle-adam, barbey d'aurevilly, flaubert, maupassant, huysmans, lautreamont), la russie (avec pouchkine, gogol, dostoievski, tourgeniev) et la grande-bretagne en incluant certains auteurs americains (avec dickens, poe, stevensons, le fanu, wilde, james). Les raisons, mais aussi les effets de cet engouement montrent qu'il ne peut se resumer a un simple phenomene de mode. En premier lieu, l'atmosphere troublante et les personnages fluctuants meles a l'observation minutieuse de la vie reelle conduisent a une vision dualiste du monde. Ensuite, un certain "realisme" psychologique, une desillusion sans reconciliation possible pour le heros dechire, et donc une vision de l'homme plus interieure etablissent les oeuvres fantastiques comme metamorphoses esthetiques de drames psychiques. Enfin, par dela la satire, l'ironie romantique et le << comique absolu >>, le fantastique hoffmannien ouvre la voie a la litterature symboliste, decadente et meme surrealiste du debut du xxe siecle.
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Hörmann, Yvonne. "Die Musikerfiguren E. T. A. Hoffmanns ein mosaikartiges Konglomerat des romantischen Künstlerideals." Würzburg Königshausen & Neumann, 2008. http://d-nb.info/989139603/04.

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Kohns, Oliver. "Die Verrücktheit des Sinns : Wahnsinn und Zeichen bei Kant, E. T. A. Hoffmann und Thomas Carlyle /." Bielefeld : Transcript, 2007. http://catalogue.bnf.fr/ark:/12148/cb411179245.

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Rehfeld, Swantje. ""... seltsames Knistern unter Bindestrichen" : Franz Fühmanns produktive Rezeption E. T. A. Hoffmanns /." Trier : WVT, Wiss. Verl. Trier, 2007. http://www.wvttrier.de/top/Beschreibungen/ID942.html.

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Kaiser, Anne Katrin. "Die Kunstästhetik Richard Wagners in der Tradition E.T.A. Hoffmanns /." Freiburg, Br. ; Berlin Wien : Rombach, 2009. http://d-nb.info/998448737/04.

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Nassiri, Massoud. "Aspekte des Dualismus im Roman Die Elixiere des Teufels bei E.T.A. Hoffmann." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=29517.

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Hoffmann's Work is not just a reflection of a life. It is a work of art, an artwork. A common understanding of what art is and should be forms the background to the diverse works' heterogeneous forms of expression. Although the focus of this paper is on one of Hoffmann's Works, it reveals Hoffmann's ideas and ideals as a human being and romantic author, as well as his philosophical outlook on life ("Weltanschauung"). In Hoffmann's "The Devil's Elixirs," practically impossible events often serve a psychological function, by projecting the hero's internal processes externally and portraying mental or emotional events in realistic images.
In his novel, the poet did not just seek to portray a psychological conflict, but rather to use the various means provided by his knowledge and imagination to write a captivating, interesting story, which also reflects his ideas and ideals. Hoffmann was not a psychologist, but rather a poet. He didn't write a medical case history, he wrote a novel. His experience and observations of the internal and external world of human beings served as a stimulus for literary creation, without being the sole theme of the artistic work.
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Miller, Harry A. W. (Harry Alfred Werner). "Elements of Shamanic Mythology in E. T. A. Hoffman's Romantic Conception of Music." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc277978/.

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The musicians in E. T. A. Hoffmann's tales and essays demonstrate traits remarkably similar to those of shamans. Hoffmann uses the same imagery to describe the journey of the composer into the "realm of dreams," where he receives inspiration, as the shaman uses to describe the spirit world to which he journeys via music. Hoffmann was a major force in changing the 18th-century view of music as an "innocent luxury" to the 19th-century idea of music as a higher art. As a German Romantic,author, he subscribed to the idea championed by the Schlegels that true poetry is based on myth. In this thesis, Hoffmann's writings are compared with shamanic mythology to demonstrate a similarity beyond mere coincidence, without drawing conclusions about influence.
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Books on the topic "E T A (Ernst Theodor Amadeus)"

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Die produktive Rezeption E.T.A. Hoffmanns in Frankreich. Frankfurt am Main: P. Lang, 2000.

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E.T.A. Hoffmann, Ideal und Wirklichkeit: Zur Rekonstruktion seiner Vorstellungswelt. Frankfurt am Main: P. Lang, 1990.

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Die Poetik der inneren und äusseren Welt bei E.T.A. Hoffmann: Zur Konstitution des Poetischen in den Werken und Selbstzeugnissen. Frankfurt am Main: P. Lang, 1991.

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Die Ich-Problematik in E.T.A. Hoffmanns "Die Elixiere des Teufels": Eine psychoanalytische Untersuchung in Auseinandersetzung mit der deutschen idealistischen Philosophie. Frankfurt am Main: P. Lang, 2000.

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Harnischfeger, Johannes. Die Hieroglyphen der inneren Welt: Romantikkritik bei E.T.A. Hoffmann. Opladen: Westdeutscher Verlag, 1988.

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Heterogenität und Integration: Studien zu Leben, Werk und Wirkung E.T.A. Hoffmanns. Frankfurt am Main: P. Lang, 1996.

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Reflexion und Wirkung der juristischen Tätigkeit im Werk E.T.A. Hoffmanns ... Frankfurt am Main: P. Lang, 2009.

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Wenn mehrere Künste im Spiel sind: Intermedialität bei E.T.A. Hoffmann. Göttingen: Vandenhoeck & Ruprecht, 2006.

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Schafer, R. Murray. E.T.A. Hoffmann and music. Ann Arbor MI: University Microfilms International, 1992.

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Criminalité et justice dans les Contes nocturnes d'E.T.A. Hoffmann. Bern: P. Lang, 1996.

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Book chapters on the topic "E T A (Ernst Theodor Amadeus)"

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Klotz, Volker. "Ernst Theodor Amadeus Hoffmann." In Das europäische Kunstmärchen, 196–207. Stuttgart: J.B. Metzler, 1985. http://dx.doi.org/10.1007/978-3-476-03204-1_15.

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Zimmermann, Bernhard. "Hoffmann, Ernst Theodor Amadeus." In Metzler Autoren Lexikon, 375–76. Stuttgart: J.B. Metzler, 1997. http://dx.doi.org/10.1007/978-3-476-03720-6_184.

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Pouradier, Maud. "HOFFMANN, Ernst Theodor Amadeus." In Les théoriciens de l'art, 324–25. Presses Universitaires de France, 2017. http://dx.doi.org/10.3917/puf.talon.2017.03.0324.

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"Ernst Theodor Amadeus Hoffmann (1776–1822)." In Music Analysis in the Nineteenth Century, 141–60. Cambridge University Press, 1994. http://dx.doi.org/10.1017/cbo9780511470257.013.

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Schnellenbach, Helmut. "I. Vorwort." In Ernst Theodor Amadeus Hoffmann – Jurist, Komponist und Musikästhetiker, 7–9. Nomos Verlagsgesellschaft mbH & Co. KG, 2022. http://dx.doi.org/10.5771/9783748933496-7.

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Schnellenbach, Helmut. "Titelei/Inhaltsverzeichnis." In Ernst Theodor Amadeus Hoffmann – Jurist, Komponist und Musikästhetiker, 1–6. Nomos Verlagsgesellschaft mbH & Co. KG, 2022. http://dx.doi.org/10.5771/9783748933496-1.

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Schnellenbach, Helmut. "VI. Beispiele musikalischer Erzählungen aus den „Fantasiestücken in Callots Manier“." In Ernst Theodor Amadeus Hoffmann – Jurist, Komponist und Musikästhetiker, 27–30. Nomos Verlagsgesellschaft mbH & Co. KG, 2022. http://dx.doi.org/10.5771/9783748933496-27.

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Schnellenbach, Helmut. "II. Anfangsstadien und Umbrüche." In Ernst Theodor Amadeus Hoffmann – Jurist, Komponist und Musikästhetiker, 10–11. Nomos Verlagsgesellschaft mbH & Co. KG, 2022. http://dx.doi.org/10.5771/9783748933496-10.

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Schnellenbach, Helmut. "VII. Epilog." In Ernst Theodor Amadeus Hoffmann – Jurist, Komponist und Musikästhetiker, 31–33. Nomos Verlagsgesellschaft mbH & Co. KG, 2022. http://dx.doi.org/10.5771/9783748933496-31.

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Schnellenbach, Helmut. "IV. Intermezzo." In Ernst Theodor Amadeus Hoffmann – Jurist, Komponist und Musikästhetiker, 20–22. Nomos Verlagsgesellschaft mbH & Co. KG, 2022. http://dx.doi.org/10.5771/9783748933496-20.

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