Spread Of Artistic Spirit Of Chinese Historical Drama Songs

As an important symbol of an excellent TV series, Chinese historical dramas’ songs have become the spiritual symbols left to the broad audience. They have the theme and spiritual value of spreading the story, connecting the link between the past and the following, showing the infinite empathy and yearning of women, symbolizing the identity and symbolic the identity and symbolic meaning of the characters, borrowing historical allusions and drama adaptation, preserving the artistic spirit of and beautiful style. These songs play an essential role in spreading the story plot, characters, cultural connotation, and regional customs of the historical drama and play a critical value-added role in enhancing the historical drama’s artistic charm and spiritual value. This is also the music aesthetics that presents the blending of form and spirit and the sublimation of artistic conception in historical dramas’ songs.

The Deutschland Series: Cold War Nostalgia for Transnational Audiences

How do you explain the Cold War to a generation who did not live through it? For Jörg and Anna Winger, co-creators and showrunners of the Deutschland series, you bring it to life on television. Part pop culture reference, part spy thriller, and part existential crisis, the Wingers’ Cold War is a fun, fast-paced story, “sunny and slick and full of twenty-something eye candy.” A coproduction of Germany's UFA Fiction and Sundance TV in the United States, the show premiered at the 2015 Berlinale before appearing on American and German television screens later that year. Especially popular in the United Kingdom, it sold widely on the transnational market. It has been touted as a game-changer for the German television industry for breaking new ground for the German television industry abroad and expanding the possibilities of dramatic storytelling in Germany, and is credited with unleashing a new wave of German (historical) dramas including Babylon Berlin, Dark, and a new production of Das Boot.

TRAGEDY IN L. TIECK’S DRAMA. SOME ASPECTS

The article considers the genre of tragedy in the works of L. Tieck, one of the key figures of German Romanticism. It is known that the tragedy genre among the German romantics is represented mainly by two varieties: the “tragedy of fate” (Schicksalsdrama) and the drama on a religious-historical theme (in literature most often referred to as Universaldrama, “universal drama”). L. Tieck stands at the origins of both genres, while the tragedy “The Life and Death of Saint Genoveva” (1801), to which other religious and historical dramas of German romanticism go back, turned out to be especially influential. Having created examples of those two genres, Tieck rethinks tragic structures, relativizing them in different ways – firstly, by transforming the tragic genre itself, and, secondly, by including tragic elements into the complex genre constructs, mainly into fairy-tale dramas. That rethinking, however, takes place mostly in the mainstream of the parody typical of Tieck’s work – whether it is a parody of the “main” tragedy with a comedy counterpart or the inclusion of parodies of the tragedy, including his own tragedies, in comedy texts. At the same time, however, Tieck’s last dramatic work, “Fortunat”, which has much in common with his fairy-tale dramas and, like them, is a complex genre construct, ends in tragedy in its purest form, the triumph of the tragic substance. In our opinion that testifies to the impossibility of complete relativization of tragedy and to the crisis of romantic drama

Das Bild von Herkus Monte in der deutschen und litauischen Literatur und Kultur

This article focuses on the historical figure of the leader of the second uprising of the colonized Prussians against the Teutonic Order, Herkus Monte, who is presented here primarily as a literary figure. The increasing interest in Prussian history changed the written media, so that the order chronicle of the 13th century later turned into literary works, primarily historical novels and historical dramas in Germany. Because of the geographical proximity and linguistic relationship, the Lithuanians feel a strong affinity for the Prussians and their heroes. In the following, we analyze literary works by Lithuanian authors on the basis of which a feature film and an opera were created.

Coleridge’s Shakespearean Transformation of Schiller’s Wallenstein Plays

In 1800, Samuel Taylor Coleridge published translations of Friedrich Schiller’s historical dramas The Piccolomini and The Death of Wallenstein. Despite his dislike of the process of translating, Coleridge eventually recognized the importance of his own work. In particular, the translations assisted the intellectual development through which Coleridge came to present Shakespeare as the profoundest English moralist. This chapter shows how Coleridge’s English versions pivoted on the intensification of Shakespearean echoes, especially of Macbeth, in Schiller’s original. The chapter then analyses Coleridge’s marginalia in copies of his translations, in which the translator persistently drew comparisons and contrasts between Schiller and Shakespeare. It emerges that Wallenstein was a significant influence on Coleridge’s subsequent Shakespeare criticism and on his moral philosophy, briefly summed up in the phrase ‘Conscience is God ’.

Nostalgic Fragments in the Thick of Things: Yuan Kewen (1890–1931) and the Act of Remembering

This article delves into the nexus of nostalgia, memory, and visuality by examining the images, objects, and events surrounding Yuan Kewen's remembrances of his father, Yuan Shikai, and their family estate in Huanshang. It also considers Zhang Boju's remembrance of his interactions with Yuan Kewen as another layer of historical memory. Phenomenological analysis of the act of remembering, especially in the work of Edward Casey, will be shown to yield rich insights when applied to China's early twentieth-century Republican culture. Surviving fragments—poems, anecdotes, photographs, and paintings—replete with sensuous and affective images of the past become the loci of memory in which these historical figures lived. Lamentation and reminiscence are also conducted through performance of historical dramas whose gestures of mourning and remembrance allowed Yuan to cultivate feelings of perpetual nostalgia through personal artistic expressions. The act of remembering became symptomatic for Yuan, Zhang, and to a large extent the entire generation of literati who experienced drastic social-political changes in the twentieth century.

Elsewhere

FQ Columnist Bilal Qureshi examines two recent German historical dramas that address the cultural and artistic process of grappling with the country's Nazi and Communist past: Florian Henckel von Donnersmarck's Werk ohne Autor (Never Look Away, 2018) and Christian Petzold's Transit (2018). He queries the two films’ highly divergent receptions at home and abroad and asks what Germany's rejection of the lush romanticism of Never Look Away—and embrace of Christian Petzold's unresolved puzzles—can tell us about the shifting grounds of how history is seen and interpreted on-screen in this moment.