Hofmannsthal – Jahrbuch zur europäischen Moderne

2021 ◽  
Keyword(s):  
Fine Arts ◽  
Historical Context ◽  
Turn Of The Century ◽  
Hugo Von Hofmannsthal ◽  
European Culture ◽  
The Aesthetic

The Yearbook on Hofmannsthal and European modernity has been published since 1993 and is regarded as the most important instrument of research into Hofmannsthal. It places the works of Hugo von Hofmannsthal (1874–1929) in the aesthetic and socio-historical context of modern European culture and, in addition to previously unpublished correspondence, presents contributions by renowned academics on literature, the fine arts, philosophy, psychology, politics, and dance and theatre at the turn of the century. <b>This year’s edition contains</b> »Für Josef Hoffmann zum 15. Dezember 1920«. Blätter von Hugo von Hofmannsthal, Richard Beer-Hofmann und Alfred Roller <i>Mitgeteilt von Ursula Renner</i> <i>Klaus E. Bohnenkamp</i>: Rudolf Kommer, Kulturvermittler und Theateragent zwischen Europa und Amerika. Mit vier unbekannten Briefen Rudolf Kassners <i>Alexander Honold</i>: Träumereien eines Wachtmeisters. Hofmannsthals »Reitergeschichte« <i>Kevin Kempke</i>: Dasein und Hiersein. Gegenwartsbegriff und Zeitsemantik in Hofmannsthals »Der Dichter und diese Zeit« <i>Heinz Rölleke</i>: »Die Frau ohne Schatten«. Zu den Motiven ›Kinderlosigkeit‹ und ›Versteinerung‹ <i>Tillmann Heise</i>: Das Erfundene Gespräch als transatlantischer Dialog. Gattungsvariationen und Gedankenexperimente in Hofmannsthals Gesprächsfragment »Brief ans Dial« (1925) <i>Martin Stern</i>: Zur Ambivalenz der zwei Fassungen von Hofmannsthals Trauerspiel »Der Turm«. Sozialistische Utopie oder populistische Diktatur? Konzession ans Theater oder tragische Erkenntnis des Geschichtsverlaufs? <i>Hans J. Lind</i>: Robert Walsers Hofmannsthal <i>Achim Aurnhammer</i>: Arthur Schnitzlers Schlüsse <i>Mario Zanucchi</i>: »Als er den Mond vom Himmel geschmettert.« Intertextuelle Apokalyptik in Georg Heyms »Der Krieg« (1911) <i>Csongor Lőrincz</i>: Die Poetik der Höflichkeit. Zu Dezső Kosztolányis Novellenheld Kornél Esti und seinen deutschsprachigen Verwandten <i>Nicolas Pethes</i>: »Experimentelle Völkerpsychologie«: Konstruktionen kollektiver Medienwirkungen im frühen Kinodiskurs

Hofmannsthal – Jahrbuch zur Europäischen Moderne

2020 ◽  
Keyword(s):  
Fine Arts ◽  
Historical Context ◽  
Martin Buber ◽  
Turn Of The Century ◽  
Friedrich Schlegel ◽  
Hugo Von Hofmannsthal ◽  
Gottfried Keller ◽  
European Culture ◽  
The Aesthetic ◽  
Theorie Und Praxis

The Yearbook on Hofmannsthal and European modernity has been published since 1993 and is regarded as the most important instrument of research into Hofmannsthal. It places the works of Hugo von Hofmannsthal (1874–1929) in the aesthetic and socio-historical context of modern European culture and, in addition to previously unpublished correspondence, presents contributions by renowned academics on literature, the fine arts, philosophy, psychology, politics, and dance and theatre at the turn of the century. This year’s edition contains: Teodor de Wyzewa: Le Symbolisme de M. Mallarmé <i>Herausgegeben und übersetzt von Rudolf Brandmeyer und Friedrich Schlegel</i> Emil Saudek, Otokar Březina und Hugo von Hofmannsthal – Textgeflechte <i>Mitgeteilt von Lucie Merhautová</i> Arthur Schnitzlers ungarische Interviews <i>Herausgegeben von Martin Anton Müller, übersetzt von Sándor Tatár</i> <i>Klaus E. Bohnenkamp:</i> Rudolf Kassner und Martin Buber. Eine fast vergessene Beziehung <i>Wolfram Malte Fues:</i> Passagen zum »Passagen-Werk«. Hofmannsthals Zeichendeuter und Priesterzögling <i>Joachim Seng:</i> »das ahnungsvolle Geschäft der Poesie«. Paul Celans Hofmannsthal-Rezeption und das Gedicht »À LA POINTE ACÉRÉE« <i>Jutta Müller-Tamm:</i> Eugen Bleuler besucht Gottfried Keller oder Das Hechtgrau der Maultrommel: Synästhesie im »Landvogt von Greifensee« <i>Matthias Schöning:</i> Der Bäckermeister. Theorie und Praxis der Ehre in Schnitzlers »Lieutenant Gustl« <i>Konstanze Fliedl:</i> Hysterie und Katharsis. Hermann Bahrs Schauspiel »Die Andere« <i>David Brehm / Lotta Ruppenthal:</i> Was nie gedruckt wurde, lesen. Lektüren des »weißen Flecks« in der Wiener und Prager Zeitungskultur des Ersten Weltkriegs <i>Marcel Krings:</i> »Aber nichts von Verantwortung«. Schuld, Gesetz und Literatur in Kafkas »Eine kleine Frau« <i>Volker Mergenthaler:</i> Erich Kästners »Spuk in Genf«. Zeitungslektüren vor der neunten Völkerbundkonferenz

Zygmunt Krasiński wobec sztuk pięknych / Zygmunt Krasiński and the Fine Arts

2013 ◽  
Vol 54 (2) ◽  
pp. 145-160 ◽  
Author(s):  
Olga Płaszczewska
Keyword(s):  
Fine Arts ◽  
Literary Tradition ◽  
Individual Sensitivity ◽  
What Works ◽  
The Arts ◽  
The Aesthetic ◽  
A Current ◽  
Aesthetic Preferences

Summary This is an attempt at examining Zygmunt Krasiński’s opinions and preferences with regard to the fine arts, a theme many critics believed to be missing from his writings. While putting things right, this article looks at the issues involved in his artistic choices, for example, what works or artists attracted his attention, in general, and to the point of him actually drawing on them in his own work or provoking him to some response (critical, approving, emotional, etc.). Furthermore, the article tries to explore the reasons and circumstances which may account for Krasiński’s interest in a given painting, print, or sculpture. It may have been the work’s theme as in the case of his ekphrasis of Ary Scheffer’s Dante and Virgil Encountering the Shades of Francesca and Paolo Di Rimini, where literary tradition provided the impulse, or the mode of its execution, or the personal ties with its author, or, finally, some other factors, like a current vogue or simply Krasiński’s individual sensitivity. The ultimate aim of all these inquiries is to outline Krasiński’s relationship with the arts (beaux arts) in the context of the aesthetic preferences of the epoch.

Class, Control, and Classical Music

2019 ◽  
Author(s):  
Anna Bull
Keyword(s):  
Music Education ◽  
Cultural Production ◽  
Classical Music ◽  
Historical Context ◽  
Ethnographic Study ◽  
Middle Classes ◽  
Class Culture ◽  
White Middle Class ◽  
Music Ensembles ◽  
The Aesthetic

Through an ethnographic study of young people playing and singing in classical music ensembles in the south of England, this book analyses why classical music in England is predominantly practiced by white middle-class people. It describes four ‘articulations’ or associations between the middle classes and classical music. Firstly, its repertoire requires formal modes of social organization that can be contrasted with the anti-pretentious, informal, dialogic modes of participation found in many forms of working-class culture. Secondly, its modes of embodiment reproduce classed values such as female respectability. Thirdly, an imaginative dimension of bourgeois selfhood can be read from classical music’s practices. Finally, its aesthetic of detail, precision, and ‘getting it right’ requires a long-term investment that is more possible, and makes more sense, for middle- and upper-class families. Through these arguments, the book reframes existing debates on gender and classical music participation in light of the classed gender identities that the study revealed. Overall, the book suggests that inequalities in cultural production can be understood through examining the practices that are used to create a particular aesthetic. It argues that the ideology of the ‘autonomy’ of classical music from social concerns needs to be examined in historical context as part of the classed legacy of classical music’s past. It describes how the aesthetic of classical music is a mechanism through which the middle classes carry out boundary-drawing around their protected spaces, and within these spaces, young people’s participation in classical music education cultivates a socially valued form of self-hood.

scholarly journals The Reconstruction of the European Mind: T. S. Eliot’s Criterion and the Idea of Europe

2018 ◽  
Vol 3 (2) ◽  
Author(s):  
Jeroen Vanheste
Keyword(s):  
Interwar Period ◽  
Specific Role ◽  
The Political ◽  
European Identity ◽  
Hugo Von Hofmannsthal ◽  
Jose Ortega Y Gasset ◽  
European Culture ◽  
European Tradition ◽  
Political Events ◽  
European Values

T. S. Eliot was the founder and editor of the Criterion, a literary and cultural review with a European focus that was published during the interwar period. The Criterion functioned as a platform for intellectuals with a shared perception of European culture and European identity. It was part of a network of European periodicals that facilitated an intellectual exchange between writers and thinkers with a common orientation. Examples of other reviews in the Criterion network were the Nouvelle Revue Française from France, La Fiera Letteraria and Il Convegno from Italy, the Revista de Occidente from Spain (edited by José Ortega y Gasset), and Die Neue Rundschau, the Europäische Revue, and the Neue deutsche Beiträge (edited by Hugo von Hofmannsthal) from Germany. In this article, I investigate the specific role the Criterion network of reviews and intellectuals played as an infrastructure for the dissemination of ideas about European culture during the interwar period. I also discuss the content of these ideas about the ‘European mind’. As to the latter, I suggest that Eliot positioned himself as well as his magazine in the European tradition of humanist thinking. Unfortunately, the Criterion’s ambition for a reconstruction of the European mind would dissipate as the European orientation of the 1920s was displaced by the political events of the 1930s. Eliot and his Criterion network expressed a Europeanism that has often been overlooked in recent research. The ideas discussed in this network remain interesting in our time, in which discussions about European values and European identity are topical. What is also highly interesting is the role cultural reviews played during the interwar period as a medium for exchanging such ideas.

William Morris’s ‘Work-Pleasure’: Literature, Science and Fine Art

2018 ◽  
pp. 163-185
Author(s):  
Philipp Erchinger
Keyword(s):  
Nineteenth Century ◽  
Fine Arts ◽  
Experimental Methods ◽  
Fine Art ◽  
Arts And Crafts ◽  
Arts And Crafts Movement ◽  
William Morris ◽  
Narrow Sense ◽  
The Arts ◽  
The Aesthetic

This chapter seeks to elucidate nineteenth-century conceptions of art as fine art. Taking its cue from Raymond Williams’s account of a divorce of (fine) art from (technical) work, the chapter pursues various attempts to define the aesthetic specificity of the fine arts, including literature in the narrow sense, in relation to other ways of exercising skill, including the use of experimental methods in the sciences. In this way, it seeks to show that the idea of the aesthetic, despite all attempts to purify it, remained deeply entangled in a net of work, in which experiences of pleasure (or beauty) and playfulness had not yet been separated from material practices of making useful things. As is further explained, the idea of a mutual inclusiveness of pleasure and use was pivotal to the arts and crafts movement, especially to the creative practice of William Morris. Finally, the chapter pursues Morris’s concept of “work-pleasure”, as derived from his News from Nowhere, through a wider debate about the complex relations between the sciences and the (fine) arts.

Understanding Rock: Essays in Musical Analysis. Edited by John Covach and Graeme M. Boone. New York and Oxford: Oxford University Press, 1997. Expression in Pop-Rock Music: A Collection of Critical and Analytical Essays. Edited by Walter Everett. New York and London: Garland Publishing, Inc., 2000.

Popular Music ◽  
2001 ◽  
Vol 20 (2) ◽  
pp. 275-283 ◽  
Author(s):  
David Brackett
Keyword(s):  
New York ◽  
Rock Music ◽  
Cultural Theory ◽  
Historical Context ◽  
Music Analysis ◽  
Cultural Analysis ◽  
Musical Style ◽  
Oxford University ◽  
The Aesthetic ◽  
New Applications

In the intense disciplinary upheavals of the last fifteen years or so within music scholarship, music analysis has been one of the most contentious areas of debate The sense of conflict arises from a confluence of factors: all music scholars who wish to describe the details of musical style must employ some form of music analysis, yet the very strengths of music-analytical practice Ð its ability to describe musical events with precision, its ability to explain details of musical style and demonstrate structural interrelationships Ð are couched in a technical meta-language that seems resistant to socio-cultural analysis, an area of particular interest for those involved in the self-critique of the field. Concurrent with the apearance of what are probably the best-known denouncements of analysis as formalist and tautological by Joseph Kerman in the early to mid-1980s, musicologists who were sympathetic to aspects of KermanÕs critique explored ways to harmonise the description and analysis of musical details with methods of analysis derived from different aspects of cultural theory. Many of the scholars seeking new applications for music analysis also pursued the related project of understanding the socio-historical context for music analysis itself and of unpacking the aesthetic values couched within the apparently neutral practice of analysis.

Michael Gluzman. The Politics of Canonicity: Lines of Resistance in Modernist Hebrew Poetry. Contraversions: Jews and Other Differences. Stanford: Stanford University Press, 2003. xiv, 250 pp.

AJS Review ◽  
2005 ◽  
Vol 29 (1) ◽  
pp. 179-181
Author(s):  
Chanita Goodblatt
Keyword(s):  
Full Range ◽  
Historical Context ◽  
Hebrew Literature ◽  
Primary Interest ◽  
Hebrew Poetry ◽  
Modern Hebrew ◽  
Private And Public ◽  
The Aesthetic ◽  
Leah Goldberg

In his epilogue to The Politics of Canonicity, Michael Gluzman has aptly delineated the parameters of this book, by writing that it “originates from the American debate on canon formation and cultural wars that predominated academic discourse during my years at University of California, Berkeley” (p. 181). This statement firmly sets its author within a critical context that auspiciously brings a wider literary discourse, such as that sustained by Chana Kronfeld and Hannan Hever, into the realm of modern Hebrew poetry. In particular, The Politics of Canonicity is identified by its publication in the series entitled Contraversions: Jews and Other Differences, which has a primary interest in the ongoing redefinition of Jewish identity and culture, specifically involving issues of gender, modernity, and politics. The Politics of Canonicity is effectively divided into two parts. In the first, comprising Chapters 1 and 2, Gluzman provides the intellectual and historical context for the interwoven formation of national identity and the literary canon in modern Hebrew literature. In particular, in Chapter 1 he relates the story of the 1896–1897 debate between Ahad Ha'am and Mikha Yosef Berdichevsky, arguing that it produced a dominant and regulative paradigm of Hebrew literature that integrates the private and public, the aesthetic and the national. In the second chapter, Gluzman discusses the way in which Hebrew modernism created a counterpoint to international modernism's glorification of exile. He discusses a full range of premodernist and modernist Hebrew poets—Shaul Tchernichovsky, Avigdor Hameiri, Avraham Shlonsky, Noach Stern, and Leah Goldberg—in order to underline their resistance to “the idea of exile as a literary privilege or as an inherently Jewish vocation” (p. 37), a resistance which Gluzman determines as calling into question “the critical tendency to read modernist practices as essentially antinationalist” (p. 37).

»Nachdenklichkeit bleib stets bei mir«

2020 ◽  
Author(s):  
Christine von Lossau
Keyword(s):  
John Milton ◽  
Walter Benjamin ◽  
Fine Arts ◽  
Hugo Von Hofmannsthal ◽  
Historical Discourse ◽  
Robert Burton ◽  
Ancient Times

Since ancient times, the melancholy of thinkers, writers and artists has been declared as both a thorn in their side and a source of their creative inspiration. This book reveals that, in his works, Hugo von Hofmannsthal draws on representations and evaluations of this phenomenon, which stem from a historical discourse that lasted over 2500 years. This collection of depictions and appraisals sheds light on the idea of melancholy being both inspirational and destructive in terms of artistic output. This study focuses on groundbreaking texts by Robert Burton, John Milton and Walter Benjamin as well as melancholic protagonists and peripheral characters, who appear in the guise of Hamlet, Pierrot and misanthropes. Melancholy can also be found in pictures and gestures, which Hofmannsthal’s texts, particularly his numerous textual fragments, draw on. Consequently, this study highlights a network of cross-medium and intertextual relations between literature, the fine arts and dance, which convey the ambiguous nature of melancholy. This book was awarded the Gerhart Baumann Prize in 2019.

The sound space of the city as a reflection of ‘‘the spirit of the times’’ and the inner world of the film hero

2019 ◽  
Vol 11 (1) ◽  
pp. 15-26
Author(s):  
Elena A. Rusinova
Keyword(s):  
Urban Space ◽  
Film Studies ◽  
Historical Context ◽  
Specific Area ◽  
Cultural Perspectives ◽  
Inner World ◽  
The Times ◽  
The Aesthetic ◽  
Artistic Image ◽  
The City

The theme of the artistic image of the city in film has been repeatedly considered in film studies from both historical and cultural perspectives. However, two aspects of the study of the theme remain virtually unexplored because they are associated with a professional analysis of such a specific area of filmmaking as sound directing. The first aspect is the role of the city in films as both visual and audio space; the second aspect is the significance of urban sounds in the creation of the inner world of a film character. This essay explores the director's vision of urban space and the possibilities of sound directing in the formation of the inner world of a character and his/her various mental conditions - through the use of sound textures of the urban environment. The author analyses several films about Georgia's capital Tbilisi, produced in different time periods. The vivid "sound face" of Tbilisi allows one to follow changes in the aesthetic approaches to the use of the city's sounds for the formation of the image of film characters in the cultural and historical context of particular films. The essay concludes that the urban space, with its huge range of sound phenomena, contributes to the formation of a polyphonic phonogram which could bring a film's semantics to higher aesthetic and intellectual levelsl.

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