Christian Gottlob Neefe and the Bonn National Theatre, with New Light on the Beethoven Family

When the Bonn stage was closed after the death of Elector Max Friedrich in 1784, the director of its theatre company, Gustav Friedrich Wilhelm Großmann, decided to leave the city to further his career elsewhere in the Rhinelands. During the next few years, he was kept informed about developments in Bonn by two of his erstwhile colleagues, Christian Gottlob Neefe and Nikolaus Simrock, whose correspondence paints a vivid picture of musical life in the city during the later 1780s. The new Elector, Maximilian Franz, permitted a visiting troupe to perform during Carnival each year, but repeatedly delayed the decision to re-establish a resident troupe. In 1787 Christoph Brandt, a singer in the Bonn Hofkapelle, attempted a home-grown initiative, perhaps to test the market for a new permanent company. Although this failed almost immediately, a single, well-attended public rehearsal of Monsigny’s Le Déserteur was given, in which Johann van Beethoven made what was probably his last stage appearance. In a letter dated 14 May 1787, Simrock rated his performance ‘zimlich gut’. In the event, a new Bonn troupe was not recruited until 1789, when it featured the young singer Magdalena Willmann. Neefe and his musical colleagues were relieved finally to be able to resume their theatrical careers.

Europa : paisagem e pensamento : um excurso sobre Teixeira de Pascoaes, Friedrich Hölderlin, José Marinho e Martin Heidegger

Tese de doutoramento, Filosofia (Filosofia em Portugal), Universidade de Lisboa, Faculdade de Letras, 2014

Tradução directa ou indirecta? A recepção da (primeira) obra de Friedrich Dürrenmatt em Portugal

Neste artigo será feita uma breve apresentação da recepção e da tradução da obra de Friedrich Dürrenmatt (Suíço, 1921-1990) em Portugal, nomeadamente da primeira peça de teatro. Salienta-se, sobretudo, a questão das traduções chegarem a Portugal por via directa ou indirecta.

Uma perspectiva polissistémica sobre as traduções de Friedrich Dürrenmatt

Neste artigo será feita uma análise polissistémica da obra traduzida para o português de Friedrich Dürrenmatt (Suíço, 1921-1990). Recorrendo às opiniões apresentadas por vários articulistas em diversos jornais nacionais, salienta-se, sobretudo, o rumo que as traduções tiveram aquando da viragem do Regime em 1974.

" Ich habe viele namen " : Polyphonie und Dialogizität im autobiographischen Spätwerk Max Frischs und Friedrich Dürrenmatts

Zusammenfassung: Max Frisch und Friedrich Dürrenmatt, als Dioskuren der Schweizer Literatur zeitlebens aneinandergekettet, haben auf der Suche nach ihrem Selbst immer auch den anderen im Blick. Aus ihrer pointierten, gelegentlich polemischen wechselseitigen Abgrenzung entsteht ein künstlerisch höchst produktiver, impliziter Dialog. Er wird hier erstmals explizit gemacht. Unter den Gesichtspunkten von Polyphonie und Dialogizität wird die Konstruktion und Auflösung des autobiographischen Subjekts untersucht. Diese Fallstudien an einzelnen, repräsentativen Texten der beiden Autoren stellen neue Fragen, die für die gesamte Autobiographiediskussion relevant sind: Bei Dürrenmatts großem ,,Stoffe"-Komplex wird, unter Einbezug der textgenetischen Perspektive, der autobiographische Prozess als das Anprobieren von multiplen Ichs analysiert. Das Problem des Subjekts radikalisiert sich als Problem der Sprache, der "vielen Namen", mit denen sich das Subjekt selbst tauft. Bei Frisch deckt die Studie mit ihrem neuen Ansatz die architektonischen und musikalischen Kompositionsverfahren in "Montauk" und "Holozän" auf, eine Textarchitektur in der Zeit und im Medium der Sprache. Dabei werden bisher unbekannte Entwürfe zu diesen wichtigen Spätwerken Frischs erstmals genutzt und publiziert.

[Friedrich] Ebert : [photographie de presse] / [Agence Rol]

Référence bibliographique : Rol, 58525

L'ex Crown Princess d'Allemagne [Cecilie, épouse du fils de Guillaume II, Friedrich Wilhelm] : [photographie de presse] / [Agence Rol]

Référence bibliographique : Rol, 59371

[Orphée et Eurydice]. Airs de ballet / Christoph Willilbald Glück, comp. ; orchestre de Chambre de la Société des Concerts de Versailles ; G. Cloez, dir.

Titre uniforme : [Orphée et Eurydice. W 41]. Choix

ALBUM de Caspar Held, étudiant en théologie à Tübingen (1564). In-8 de 106 f., mar. bl. jans. (Hans Asper.)

Cranach (Lucas). Passional, cité

Memory mixed with desire : a preliminary study of philosophy and literature in the works of Friedrich Nietzsche and Milan Kundera

Memory Mixed with Desire: A preliminary study of Philosophy and Literature in the works of Friedrich Nietzsche and Milan Kundera Robert Spinelli Brock University, Department of Philosophy This thesis studies intertextuality in the works of Friedrich Nietzsche and Milan Kundera through the primary themes of memory and forgetting. The thesis starts with two introductory chapters that delineate memory according to Nietzsche and Kundera respectively. From here, I move into a discussion of Nietzsche's Ubermensch as an example of the type of forgetting that Nietzsche sees as a cure for the overabundance of memory that has led to Christian morality. Next, I explore the Kunderan concept of kitsch as the polar opposite of what Nietzsche has sought in his philosophy, finishing the chapter by tying the two thinkers together in a Kunderan critique of Nietzsche. The thesis ends with a chapter devoted to the Eternal Return beginning with an exegesis of Nietzsche's idea and ending with a similar exegesis of Kundera's treatment of this thought. What I suggest in this chapter is that the Eternal Return might itself be a form of kitsch even in its attempt to revalue existence.