Bibliografias temáticas / German Christmas plays

Literatura científica selecionada sobre o tema "German Christmas plays"

Autor: Grafiati
Publicado: 25 de julho de 2024

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Artigos de revistas sobre o assunto "German Christmas plays"

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Classen, Albrecht. "The Erlau Playbook: Five Medieval German Dramas for Christmas and Easter. Trans. with an Intro. and Commentary by Stephen K. Wright. Early European Drama Translation Series, 4. Medieval and Renaissance Texts and Studies, 511. Tempe, AZ: Arizona Center for Medieval and Renaissance Studies, 2017, xxxviii, 184 pp." Mediaevistik 31, n.º 1 (1 de janeiro de 2018): 440. http://dx.doi.org/10.3726/med012018_440.

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With great enthusiasm and excitement I turned to this English translation of the Erlauer Spiele, magisterially done by Stephen K. Wright, Professor Emeritus of English at the Catholic University of America, and I was not disappointed. With great philological skills and great aplomb he tackles his task and makes available five major Christmas and Easter plays from fifteenth-century Carinthia, today in Austria, from the first half of the fifteenth century, in English. He introduces us in a very learned, yet also very lucid and clearly structured manner to the genre itself and the specifics of those five plays. Then follow the five plays themselves in translation, which are thoroughly annotated. Subsequently, Wright offers very brief excerpts from Erlau I (ll. 27–44), Erlau II (ll. 319–56), Erlau III (ll. 560–622), Erlau IV (ll. 330–70), and Erlau V (ll. 277–311). Those allow us to carry out at least a brief comparison between the original late medieval German text and the English translation. I can confirm that Wright has done an excellent translation job, although one could quibble over small matters here and there (V, 287: “so wirt guldein unser har” is: “so our hair will turn golden,” and not: “then our hair must be golden too!”). Those appendices, however, do not help us much at all to get a sense of the original works.
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Svetozarova, Natalia. "Christian Morgenstern and Henrik Ibsen (an episode in the history of literary translation)". Scandinavian Philology 21, n.º 1 (2023): 152–61. http://dx.doi.org/10.21638/11701/spbu21.2023.110.

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This article discusses the history of creative contacts between the great Norwegian playwright Henrik Ibsen and the German poet Christian Morgenstern (1871–1914). Christian Morgenstern’s life was short and marred by physical suffering, but fantastically full and diverse in creative terms. A significant part of Christian Morgenstern’s lyrical and epistolary legacy was published only after his death thanks to the efforts of his wife and friends. Christian Morgenstern’s translations of Henrik Ibsen’s works date from the late 19th century, when the new Solomon Fischer’s publishing house (S. Fischer Verlag) in Berlin decided to publish the complete works of Ibsen in a translation into a German language that would be worthy of the original language. The publishing house turned to a young and at the time still little known poet who, being in love with Scandinavian literature and with Henrik Ibsen, set to work with great enthusiasm, settled in a family boarding house near Christiania, in a short time learned Norwegian, consulted and corresponded with Ibsen several times and as a result created translations for his plays, the German of which was delighted and earned the high praise of the playwright. An authorized edition of the translations was printed in Germany between 1898 and 1904 and is now a bibliographic rarity. However, many of Ibsen’s works are still published in Germany in the translation of Christian Morgenstern, known primarily as an unsurpassed master of poetic miniatures in a unique style of lyrical humor.
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Alhussein, Akkad. "Translation als Mythos". Lebende Sprachen 49, n.º 5 (8 de outubro de 2020): 237–56. http://dx.doi.org/10.1515/les-2020-0018.

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AbstractThis paper investigates the reception history of the Danish Poet and fairytale writer Hans Christian Andersen in 19th-century Germany and its influence on his (auto)biographical depiction. Like many Scandinavian poets, Andersen discovered Germany’s literary potential and took advantage of it to further his career. In most cases, he was pictured as a genius who suffered systematic underestimation in Denmark. This narrative which determined his reception plays a central role in his German autobiography Märchen meines Lebens (Fairy Tale of my Life). Analyzing Andersen’s autobiographical discourse, I will reconstruct the process of the construction of Andersen’s (auto)biographical myth, emphasizing translation’s role in shaping autobiographical narratives.
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Kuznetsov, V. I. "The German and Austrian Historiography on Russia's Participation in the Holy League War". MGIMO Review of International Relations 14, n.º 6 (29 de dezembro de 2021): 127–39. http://dx.doi.org/10.24833/2071-8160-2021-6-81-127-139.

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German and Austrian historiography of the Holy League war is an essential source because German and Austrian historians have analyzed Russia's participation in this war since the 18th century. The discussion revolves around three main questions: about the moment of Russia's accession to the Holy League de jure and de facto; about the qualification of the Holy League as an international anti-Turkish and anti-Crimean alliance; finally, about the peculiarities of social and technological cooperation between the Venetian Republic, the Holy Roman Empire, and Russia. The German and Austrian historiography on Russia's role in the war with the Ottomans began to form at the end of the 17th century when Austrian diplomats started issuing pamphlets spreading the pan-European Christian idea. Leopold I acted in accordance with this idea as the defender of the European order on the Rhine and the defender of the entire Christian civilization from the Islamic Empire and its vassal of the Crimean Khanate. Russia was trying to secure its national interests in dealings with the European partners, which did not fit well with the relations between Vienna and Constantinople, Venice, and Constantinople, as well as the plans of Jan III Sobieski to compensate for the loss of Ukraine at the expense of the Danube lands. The assessments of German and Austrian historiography make sense if we regard Russia as a part of the European Christian civilization, sharing common cultural values and geopolitical challenges.
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Jørgensen, Karsten. "Ekebergparken, landskap og demokrati". Nordlit, n.º 36 (10 de dezembro de 2015): 129. http://dx.doi.org/10.7557/13.3683.

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<p>The article reflects on the relationship between landscape architects, influential clients, and public involvement in Ekeberg, a publicly owned area of Oslo, where significant changes have taken place since the beginning of World War II. “Ekebergparken” was established as a public sculpture park in 2013. The park is funded entirely by private funds owned by the investor Christian Ringnes. The plans for the park sparked a public debate about private investor influence over public space, and protesters organized demonstrations against the establishment. After the opening of the park, the opposition has subsided, and criticism has been replaced by praise and recognition. Inside the park, there are remains of an honorary cemetery established by the German occupying forces in 1940. An honorary tribunal set up by the Association of Norwegian landscape architects condemned the Norwegian landscape architects who designed the cemetery for Germans after the war ended in 1945. The development of the park in both cases raises questions of democratic control over public space and ethical frames for landscape architects’ work. The two examples in this article show that understanding or lack of understanding of the political context landscape architects are working in, can result in their work subsequently receiving wide recognition in one case, and is characterized as a democratic failure in the other.</p>
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Węgrzynek, Krystian. "Wizerunki polityczne a literackie kreacje Wojciecha Korfantego. Zestawienie porównawcze". zaranie Śląskie. Seria druga 9 (2023): 91–142. http://dx.doi.org/10.24917/zaranieslaskie.9.5.

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The author analyses the images of Wojciech Korfanty created from the beginning of his political career until its end. He focuses on the portraits created in works of literature and journalism, confronting them with those created during political campaigns. He distinguishes five images depicting the Silesian politician in a favourable light (defender of the Upper Silesian people in the German Empire; plebiscite commissioner and insurrectionary leader; political leader in the Second Polish Republic; prisoner of the Polish Republic; Christian leader and defender of the Polish Alsatians) and five negative images (detriment to the interests of the Church, workers and the nation; disturber of the social order and fratricide; gravedigger of the uprising; enemy of Jozef Piłsudski and his supporters; embezzler and pretend Christian politician). The author concludes that the changing images of Korfanty, including those created after his death, are a result of changing political narratives and cultural trends (apart from poems and novels, cartoon stories, theatre plays and feature films devoted to the Silesian politician were produced).
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Deibl, Jakob Helmut. "Speaking of God in the Realm of Aesthetics: Religion in Hölderlin". Religions 14, n.º 11 (14 de novembro de 2023): 1422. http://dx.doi.org/10.3390/rel14111422.

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This article considers the work and reception of Friedrich Hölderlin with regard to the impact of German Idealism on religion. To this end, two questions must be clarified in advance: can Hölderlin, who is known primarily as a poet, also be placed in the context of German Idealism, and does his work have a significant relationship to religion? I argue that both questions should be answered in the affirmative. Ernst Cassirer’s study Hölderlin und der deutsche Idealismus (1918/19) clearly laid the foundation for appreciating Hölderlin’s place within German Idealism, and the question of God is a leitmotif of Hölderlin’s entire oeuvre. I seek to trace Hölderlin’s influence on understanding religion in three steps: First, I want to show that Hölderlin, in a critical continuation of Kant, does not consider religion solely within the matrix of practical reason, but brings into play the dimension of aesthetics. By situating religion in relation to the two focal points of ethics and aesthetics, a fundamental question of the philosophy of religion is addressed. Second, I employ several examples to show the various conceptions of the divine that the poet elucidates and juxtaposes in his work (Christian motifs, Greek mythology, pantheistic concepts, etc.). This leads to a philosophy of religion that is not determined by dogmatic boundaries. Third, I point out how religion plays a major role in the reception of Hölderlin.
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Reller, Jobst. "Dietrich Bonhoeffers „religionslose“ Evangelisation: Formate seiner ökumenischen Spiritualität und die Oxfordgruppenbewegung". COMMUNIO VIATORUM 65, n.º 2 (1 de novembro de 2023): 166–95. http://dx.doi.org/10.14712/00103713.2023.2.5.

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Dietrich Bonhoeffer (1906–1945), made a martyr by the Nazi German regime in 1945, is still widely read because of his ideas: the proclamation of Christian faith in a non-religious comprehen-sive worldly way, a Bible oriented spirituality of silence, confession with a political horizon. In Norwegian sources the profile of the US based Oxford Group Movement, founded by the Lutheran pastor Frank Buchman (1878–1961; later: Moral Rearmament, today: Initiatives of Change) has been identified as an influential revival movement appe-aling to political elites in Europe in the 1930’s. The article tries to show to which extent Bonhoeffer may have shaped his ideas on preaching and spirituality in confrontation with Buchman’s movement. The Nor-wegian author Ronald Fangen (1895–1946) plays a substantial role for the profile of the Oxford Group Movement in Norway.
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Jančar, Drago. "Slovene Exile". Nationalities Papers 21, n.º 1 (1993): 91–105. http://dx.doi.org/10.1080/00905999308408259.

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The new era of Slovene spiritual, cultural and, in a certain sense, political history, is marked by the condition of exile. The first Slovene book, printed in 1550, was written by Primož Trubar, a Protestant, emigrant and exile par excellence. Trubar and his followers translated, wrote, made plans, and worked, “for the prosperity of their homeland,” in exile; therefore, the fundamental document of Judeo-Christian civilization and culture—the Holy Bible—was translated into Slovene, in exile. Books were sent to the homeland in barrels, and young people were invited to be educated at German universities. Trubar died an exile, convinced that his cause in the homeland was, if not won, at least well on the road to success.
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Pollard, John F. "The Pope, Labour, and the Tango: Work, Rest, and Play in the Thought and Action of Benedict XV (1914-22)". Studies in Church History 37 (2002): 369–84. http://dx.doi.org/10.1017/s0424208400014868.

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Ever since Leo XIII promulgated his encyclical Rerum novarum, ‘On the Conditions of the Working Classes’, in 1891, successive popes have added to the corpus of Catholic teaching on social/ labour questions. Pius X, for example, published an encyclical specifically addressing the vexed question of ‘interconfessional’ Christian trade unions in Germany, and Pius XI published no fewer than three encyclicals on social questions in the space of twelve months – Quadragesimo anno of May 1931, Nova impendet of October 1931, and Cantate Christi compulsi of May 1932. Recent popes, John XXIII, Paul VI, and John Paul II, have been equally prolific in their commentaries on the labour question.
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Teses / dissertações sobre o assunto "German Christmas plays"

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Heintzelman, Matthew Zitzewitz. "The Acts of Pilate as an isolating force in the Frankfurt passion play of 1493 /". 2000. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:9965089.

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Livros sobre o assunto "German Christmas plays"

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Schärmeli, Yvonne. Königsbrauch und Dreikönigsspiele im Welschen Teil des Kantons Freiburg. Freiburg: Universitätsverlag Freiburg Schweiz, 1988.

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Krieger, Dorette. Die mittelalterlichen deutschsprachigen Spiele und Spielszenen des Weihnachtsstoffkreises. Frankfurt am Main: Lang, 1990.

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Schubert, Karl. Das Alt-Egerer Krippentheater: Ein Beitrag zur Geschichte des Krippenspiels. München: R. Oldenbourg, 1986.

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Bergmann, Rolf. Katalog der deutschsprachigen geistlichen Spiele und Marienklagen des Mittelalters. München: In Kommission bei der C.H. Beck'schen Verlagsbuchhandlung, 1986.

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Rosenstock, Hans-Jörg. Bibliodrama Bibliographie: Personen - Themen - Bibeltexte : kommentiert und nach Bibelstellen und Sachthemen sortiert, mit einigen ausgewählten Rezensionen : bis einschliesslich 2002. Schenefeld: EB-Verlag, 2003.

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Metz, Detlef. Das protestantische Drama: Evangelisches geistliches Theater in der Reformationszeit und im konfessionellen Zeitalter. Köln: Böhlau Verlag, 2013.

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Die Eigenbezeichnungen des mittelalterlichen deutschsprachigen geistlichen Spiels. Heidelberg: C. Winter, 1998.

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Warning, Rainer. The ambivalences of medieval religious drama. Stanford, Calif: Stanford University Press, 2000.

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Oberammergau>, Passionsspiele <41 2010. Oberammergauer Passionsspiel 2010. Oberammergau: Gemeinde Oberammergau im Eigenverl., 2010.

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Dischinger, Gabriele, e Kai-Uwe Nielsen. Ottobeuren: Barocke Bildwelt des Klostergebäudes in Malerei und Plastik. Sankt Ottilien: EOS-Verlag, 2014.

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Capítulos de livros sobre o assunto "German Christmas plays"

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Ivory, Yvonne. "Prussian Discipline and Lesbian Vulnerability: Christa Winsloe’s Children in Uniform at the Gate". In Cultural Convergence, 193–216. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-57562-5_8.

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Abstract This chapter examines the Dublin production and critical reception of Christa Winsloe’s Children in Uniform, which ran to full houses at the Gate for three weeks in April 1934. The play, which deals with the love between a Prussian schoolgirl and her female teacher, had premiered in Leipzig (1930), run successfully in Berlin (1931), and been adapted for the screen as Mädchen in Uniform (1931) before it was translated into English for a successful London run in 1932-1933. Edwards and mac Liammóir probably saw the original German play in Berlin in 1931. Using the prompt copy, lighting plots, photographs and reviews, the chapter shows how Edwards used expressionistic lighting and sonic leitmotifs to underscore the authoritarian regime within which the relationship between the women develops. In following the Berlin staging, Edwards produced a more subversive version of the play than that seen by London audiences or cinema goers.
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Dordanas, Stratos N., e Vaios Kalogrias. "Liman von Sanders and the German Plans for the Christians in Asia Minor during World War I". In The Genocide of the Christian Populations in the Ottoman Empire and its Aftermath (1908-1923), 94–104. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003207221-6.

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D'Alessio, Silvana. "European Stage Plays". In Masaniello. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463721455_ch15.

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This chapter describes seventeenth century plays about the revolt. It ranges across scripts by the Englishman known as T.B., by the Netherlander Thomas Asselijn, and by the German Christian Weise, each adapting the story to his ends. In such works, we can speak of a ‘Giraffi effect’, given the influence of the account most often translated, and read, in Europe. It surfaces in the extraordinary dialogue in the Afterlife, between William Tell and the Neapolitan capopopolo, by David Faßmann.
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Rumore, Paola. "Secunda et adversa fortuna". In Christian Wolff's German Ethics, 312–27. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780192869562.003.0016.

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Abstract The chapter focuses on a central topic in eighteenth-century German philosophy, namely the meaning of fortune and misfortune within God’s government of the world. It also considers the role these concepts play in orienting moral actions. Since the debate is relatively wide, the chapter discusses a specific episode, namely the criticism raised by Georg Friedrich Meier in the early 1750s against a common view that goes back to Wolff’s statements in his ethical work. I will argue that their divergent opinions concerning the possibility of considering fortune and misfortune as proper means in God’s government of the world, that is, as rewards or punishments of human actions, reveal an underestimated divergence in the way they present the task and the role of philosophy. Put briefly, the chapter argues that Wolff and Meier have a different self-understanding of the Aufklärung.
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Prunea-Bretonnet, Tinca. "Wolff and Crusius on the Duty to Love". In Christian Wolff's German Ethics, 328–50. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780192869562.003.0017.

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Abstract This chapter examines Crusius’s critical reception of Wolff’s German Ethics through his treatment of the duty to love in the Guide to Living Rationally. It argues that Crusius takes up central elements of the traditional doctrine of caritas ordinata and rearticulates them within a conception where not only Thomasius’s legacy but also Wolff’s views on perfection and the positive influence of the understanding on the will play a significant role. The distinction between duties of virtue and rules of prudence allows Crusius to advance a nuanced reception of Wolff’s theses on the duty to love and to reinterpret them in a prudential context. The chapter shows that, owing to the foundational and ordering function conferred to the love for God, Crusius elaborates an original theory of love in which moral love determines all duties and self-love acquires a positive meaning. Both a drive and a virtue, love thus proves to be an essential concept for Crusius’s ethical doctrine.
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Attfield, Nicholas. "‘Der alte treue Meister Antonius’: mysticism, nation, and the Weimar ‘Bruckner cult’". In Challenging the Modern. British Academy, 2017. http://dx.doi.org/10.5871/bacad/9780197266137.003.0005.

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Twenty-five years after Anton Bruckner’s death, groups formed in Germany to revise the composer’s biography, highlighting Bruckner as a German mystic in the medieval tradition of Meister Eckhart and his successors, and thus a figure newly divorced from the facts of his (Austrian) life. Through reference to monographs from this 1920s Bruckner renaissance—by Karl Grunsky, Oskar Lang, Erich Schwebsch, and Richard Wetz —this chapter demonstrates that, despite their ‘anti-modern’ rhetoric, these authors engaged mystic doctrine to advocate connection to a new sense of community above the individual self, expressed in terms of narrow, pro-Christian nationalistic feeling. This advocacy envisaged cultural consequences, even new symphonic performance practices. It influenced other Bruckner commentators of the decade, including those who have rarely been placed in such a context, and the chapter turns to Ernst Kurth’s Bruckner monograph (1925) and the central role that a specifically German mysticism plays within Kurth’s musical and biographical interpretations.
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Robbins, Keith. "Land Warfare". In The First World War, 30–81. Oxford University PressNew York, NY, 2002. http://dx.doi.org/10.1093/oso/9780192803184.003.0002.

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Abstract Despite the forecasts made by some strategists, the war was not over by Christmas 1914. It had appeared, for a time, that the British and French were going to be defeated in northern France and Belgium, with a similar fate awaiting the Germans on their Eastern front and the Serbs on their northern front, but in all cases the defenders had averted disaster. The fortunes of the Habsburg forces fluctuated, but they too had not been completely routed. For the moment, at any rate, the attackers had lost the upper hand and could not sustain their impetus. The ambitious initial plans of the commanders were in ruins and everybody had to begin again. The German Schlieffen plan, named after a former chief of the general staff between 1891 and 1906, had been predicated on the assumption of a two-front war. Rapid mobilization would enable Germany to defeat one enemy and then turn upon the other. Since it was assumed that France would mobilize more quickly than Russia, that concentrated assault would have to be in the west. The French would not be able to retreat far, at least not without losing their capital city. France could only be knocked out in six weeks by an outflanking movement – which would entail the invasion of Belgium. Speed of assault and numerical superiority would bring success.
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Tuttle, William M. "Children Play War Games". In “Daddy’s Gone to War”, 134–47. Oxford University PressNew York, NY, 1993. http://dx.doi.org/10.1093/oso/9780195049053.003.0008.

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Abstract Whether Chanted while jumping rope or skipping on the way to school, or read from the ubiquitous Burma-Shave signs by the side of the road, for children rhymes became an important connection to the war. In their rhymes and jingles, children put words to age-old tunes as well as to those of more recent vintage, such as “Whistle While You Work” from Walt Disney’s 1937 film Snow White and the Seven Dwarfs. Related to rhyming and chanting was another of the children’s homefront activities-telling war jokes. One of the homefront girls recalled that a popular joke among the boys was: What did the Germans say whenever a baby was born? “‘Hotsy-totsy! Another little Nazi!’” The war inspired even little children’s wit. A four-year-old boy was telling his little brother the Christmas story, but when he described Mary and Joseph’s futile search for a place to stay, he changed the inn keeper’s words to: “
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Troy, Michele K. "Spies for England". In Strange Bird. Yale University Press, 2017. http://dx.doi.org/10.12987/yale/9780300215687.003.0003.

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This chapter focuses on Hans Otto's campaign against Albatross Press, highlighted by his attempt to portray Max Christian Wegner and John Holroyd-Reece as partners in deceit. It became evident to Otto that Albatross filled the vacancy that Bernhard Tauchnitz had left open. Albatross, he worried, “can make a mere cat's leap from Paris and work at the source against us, without us noticing anything at all or first noticing when it's too late.” Otto could see only one way to proceed: to play up Tauchnitz's German loyalties in hopes of keeping its German readers from defecting to Albatross. This chapter examines how Otto, who felt that Tauchnitz had been outwitted by a foreign power, planned his defense by invoking German nationalism, hitting the theme of national betrayal especially hard with the German book trade.
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Bergeron, David M. "A Valentine wedding". In Shakespeare's London 1613. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781526115461.003.0006.

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This chapter focuses on the elaborate wedding of Elizabeth and Frederick, which took place on 14 February 1613. This account details the entertainments that battened onto this event. Elizabeth was the first royal child in decades to marry. The fireworks and sea battle on the Thames between the ‘Christian’ and ‘Turkish’ forces form a colorful part of the celebration. The wedding itself was spectacular, followed in subsequent days by masques by Campion, Chapman, and Beaumont, filling several nights of entertainment. A couple of weeks after the wedding, Elizabeth and Prince Charles requested performances of two plays, one by Marston and the other by Chapman. Elizabeth and Frederick left England in April, making their way to his native Germany. This chapter closes with Queen Anne’s progress entertainments at Bath, Bristol, and Wells.
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