El giro trágico: de Don Carlos a Wallenstein

2021 ◽  
Vol 17 ◽  
pp. 103-116
Author(s):  
Miguel Salmerón Infante

La etapa comprendida entre la finalización de la escritura de Don Carlos (1787) y la de la Trilogía Wallenstein (1799) fue la más importante de la evolución intelectual y creativa de Friedrich Schiller. En ella el escritor detuvo su producción de dramas, leyó las tres críticas de Kant e inició una sólida y fructífera amistad con Goethe. Fue muy evidente entonces el impacto de la Revolución Francesa en el autor. Esta conmoción lo llevó a rechazar soluciones políticas de supresión del despotismo y le hizo crear su concepto de educación estética. Sin embargo, este artículo, aparte de ello, pone el foco en otros dos aspectos, que son principio y final de un itinerario, a saber, la conmoción que le produce a Schiller su creación de la figura del Marqués de Posa y el profundo cambio de las nociones de trágico y tragedia, que, gestándose en sus escritos teóricos, se manifiesta original e inquietantemente en Wallenstein.

2006 ◽  
Vol 22 (1) ◽  
pp. 19-29
Author(s):  
George W. Brandt

Friedrich Schiller – poet, historian, and philosopher as well as dramatist – is acknowledged to be a towering figure in German-language theatre, yet has had only a fitful impact on the stages of the English-speaking world, where such of his works as Don Carlos, Intrigue and Love (Luisa Miller in the operatic version) and William Tell are better known through the filters of Verdi and Rossini than in their original form. But there were signs in 2005 – the bicentenary of Schiller's death at the tragically early age of forty-five – that the English theatre was taking more notice of this major playwright, with Phyllida Lloyd's production of Mary Stuart and Michael Grandage's of Don Carlos both well received. In the article which follows, George W. Brandt traces Schiller's troubled breakthrough into professional theatre as a young man with his first play, The Robbers – which, while significantly different from his later work, does anticipate his lifelong preoccupation with the theme of freedom. George W. Brandt, Senior Research Fellow and Professor Emeritus in the Drama Department of the University of Bristol, has previously contributed to NTQ with articles on Bristol's Shakespeare at the Tobacco Factory Company (NTQ 72), and Iffland's 1796 guest performance in the Weimar of Goethe and Schiller (NTQ 77).


2015 ◽  
Vol 66 (2) ◽  
pp. 91-113
Author(s):  
Wolfgang Schönpflug
Keyword(s):  

Die Kybernetik nach den Prinzipien der marxistisch-leninistischen Ideologie als Wissenschaft auszuarbeiten und zur Grundlage gegenstandsorientierter Forschung, Organisation und Planung zu machen, war ein Anliegen, das seit der zweiten Hälfte der 1950er Jahre in der DDR diskutiert wurde. Die SED hat unter Walter Ulbricht als ihrem Ersten Sekretär dieses Anliegen unterstützt. Nach der Machtübernahme durch Erich Honecker im Jahre 1971 hat die Partei jedoch die Kybernetik als universelles, gesellschaftspolitisches Programm verurteilt und nur noch als einzelwissenschaftlichen, technisch und ökonomisch orientierten Forschungsansatz gefördert. Als universeller Ansatz verstanden, der sich nach Disziplinen gliederte, schloss Kybernetik auch eine Kybernetische Psychologie ein, die in der DDR zunächst an der Friedrich-Schiller-Universität Jena betrieben und dann an die Humboldt-Universität Berlin verlagert wurde; die Forschungsgruppe „Kybernetik und Psychologie” der Humboldt-Universität erweiterte sich in die Akademie der Wissenschaften der DDR, als dort ein Zentralinstitut für Kybernetik und Informationsprozesse gegründet wurde. Dargestellt werden das Projekt der kybernetisch orientierten Psychologie in den Jahren 1960 bis 1972, der gleichzeitige Entwurf eines sozialistischen Reformprogramms nach Grundsätzen der Kybernetik sowie die einschlägige Wissenschaftspolitik der DDR. Im Mittelpunkt der Diskussion steht die Frage der Kontextualität oder der Autonomie der Psychologie als wissenschaftliches Projekt. Wie weit war sie in die Kybernetik sowie in die Wissenschaftspolitik der DDR eingebunden? Wie weit hat sie in ihrem regionalen Umfeld Selbständigkeit genossen?


2018 ◽  
Vol 5 (2) ◽  
pp. 175-184
Author(s):  
Onur Kemal Bazarkaya

Orta Çağdan hemen sonra gelen Yeni Çağın başlarındaki bilimsel tartışmalarda şarlatanlar çok büyük bir önem taşırdı; çünkü o dönemde söz sahibi olan bilim insanları onları olumsuz örnekler olarak görür ve bu olumsuzlukları kullanarak bilim için ideal ölçütler saptarlardı. Bilimde bu şekilde “negatif figür” (Hole Rößler) olarak gösterilen şarlatanlar, edebiyatta daha çeşitli ve kompleks biçimlerde ortaya çıkmakta, hatta kimi zaman karizmatik kişilikler olarak tasvir edilmektedir. Bu durum özellikle şarlatan figürünün yoğun bir şekilde sahnelendiği Alman Edebiyatında 18. yüzyılın sonlarında, 19. yüzyılın başlarında görülmektedir. Aynı zamanda söz konusu devirde yazılmış eserlerdeki şarlatanların neredeyse hiçbirinin yerleşik yaşam insanı olmadığı göze çarpmaktadır. Bitmeyen yolculukları gibi bu bağlamda sürekli kıyafet değiştirmeleri ve rol yapmaları da onların kişiliklerine esrarengiz bir hava katmaktadır. Bu çalışmada, Christoph Martin Wieland, Friedrich Schiller ve Johann Wolfgang von Goethe’ye ait eserlerdeki şarlatan karakterinin farklı işlevleri irdelenecektir. Çalışmanın sonucunda şimdiye kadar gözardı edilmiş şarlatan figürüyle birlikte Göç Edebiyatı kapsamındaki araştırmalara yeni bir bakış açısı kazandırmak hedeflendirmektedir.ABSTRACT IN ENGLISHCharlatan Traveller and Migration Literature: A Reading with the Conflict Model At the beginning of modern times, charlatans emerged as of great importance to the scientific discourse of those spokesmen of the scholar community who use them as negative examples and thus define ideal standards for their profession. Charlatans were seen as “negative figures” (Hole Rößler) in science; however, the way they were judged in literature was more complex and varied, and, in some texts, they even seem congenial and charismatic. This phenomenon can be noticed in German literature especially around 1800 when the charlatan figure is used very often. Moreover, it is conspicuous that charlatans in literary depictions of this period generally have no home and travel around constantly. Furthermore, the fact that they change their clothing and camouflage permanently offers to their identity a mysterious dimension. In the field of studies designated as ,Literature and Migration’, this paper aims to provide interpretative perspectives and, in this respect, examines the issue concerning the poetic functions of charlatan travellers as rendered textually in a number of relevant passages chosen from the works of Christoph Martin Wieland, Friedrich Schiller, and Johann Wolfgang von Goethe. 


Gragoatá ◽  
2019 ◽  
Vol 24 (49) ◽  
pp. 286-298
Author(s):  
Diogo Mathias Brum ◽  
Ebal Sant'Anna Bolacio Filho
Keyword(s):  

O presente artigo objetiva apresentar uma breve análise de soluções tradutórias para nomes de seres fantásticos de lendas folclóricas brasileiras para o idioma alemão. A tradução desses termos desperta um especial interesse, pois lança aos tradutores o desafio de mediar a transferência do significado cultural e folclórico de um termo de uma língua para outra. Neste estudo, com base na classificação de Särkkä (2007), analisamos as traduções para o alemão de três lendas brasileiras, “A Cobra Grande”, “A Iara” e “O Caipora”, publicadas pelo projeto Volkserzählungen aus Brasilien da Associação Ibero-Americana, realizadas com a contribuição de estudantes da Friedrich-Schiller Universität Jena, na Alemanha.


Monatshefte ◽  
2010 ◽  
Vol 102 (4) ◽  
pp. 604-607 ◽  
Author(s):  
Klaus L. Berghahn
Keyword(s):  

Sign in / Sign up

Export Citation Format

Share Document