THE DIVERGENT PATHS OF OPERA IN THE CLASSICAL PERIOD AS SEEN THROUGH THE OPERATIC WORKS OF CHRISTOPH WILLIBALD GLUCK AND WOLFGANG AMADEUS MOZART

Although evidence of Gluck's influence on Mozart is sometimes discernible, by examining the two operas I have performed and a recital of arias by these two composers we can see clear contrasts in their approach to and expression of classical opera. The two operas discussed are Gluck's Armide and Mozart's Le Nozze di Figaro. Gluck and Mozart were both innovators but in very different ways. Gluck comes from a dramatic background (his principles have been compared to those of Wagner) and Mozart brings together dramatic excellence with the greatness of his musical genius, his gift of melody, and his ensemble writing, which is arguably unequaled in the repertory. A well-rounded performer strives to understand what the composer is really trying to say with his work, what the message to the audience is and what his particular way of conveying it is. The understanding of a composer's approach to drama and character interaction plays a huge role in character development. This applies no matter what role you are preparing whether it is baroque opera or late romantic. Discovering the ideals, style, and purpose of a composer contributes to an effective and rewarding performance experience, for those on stage, those in the pit, and those sitting in the seats.

Reproduction and fecundity of the Irish pollan (Coregonus autumnalis Pallas, 1776), a threatened lake coregonid

The sex ratio, age at maturation, fecundity, and seasonal development of gonads of pollan (Coregonus autumnalis) in Lough Neagh are described from samples collected between November 1997 and December 1999. Pollan reproductive ecology in the 1990s was similar to that found in the 1970s. Pollan egg size and fecundity differed between years but there were no long-term trends in fecundity despite considerable subsequent eutrophication of the lough and changes in the fish community.

Between Colonial Violence and Socialist Worldview: The Conversions of Ernst Daumig

In 1900, Ernst Däumig (1866–1922) wrote to Karl Kautsky of his ‘bitter experiences’ of violence in the French Foreign Legion and then in the Prussian military that had led to his recent ‘conversion’ to the socialist worldview. This article takes up Däumig's letters, articles and travelogues, and a drama, to explore how he recast his experiences of colonial and military violence twice, first as a writer for a German soldiers’ journal and then as an aspiring socialist journalist. As well as a burden that pushed him to critique his past, Däumig's military and colonial experiences are shown to have been his starting capital in the world of journalism and politics. The article gives particular attention to the process of conversion, through which Däumig forged a new life narrative out of the moral tales offered by the adopted worldview and the events of his own past. In addition to providing a case study of worldview conversion, this article demonstrates how biographical research can challenge assumptions about the impact of colonial violence on German metropolitan culture. At the same time, this biographical analysis sheds light on the early career of one of the key figures in the German Revolution of 1918 to 1921. As co-chairman of the Independent Social Democratic Party (USPD), Däumig led the USPD into union with the Communist Party in 1920.

Die Darstellung der Apokalypse in den ersten Werken von Ernst Jünger

Dieser Aufsatz analysiert die Darstellung der apokalyptischen Bilder in zwei frühen Werken von Ernst Jünger mit dem Ziel, ihre Ähnlichkeiten und Unterschiede zu den biblischen Apokalypse-Darstellungen zu zeigen. Untersucht werden das Kriegstagebuch 1914/1918 Ernst Jüngers, ein bislang noch unveröffentlichtes Werk des Autors, und In Stahlgewitten, das aus einer literarischen Reinterpretation der Kriegserlebnisse Ernst Jüngers, die im Kriegstagebuch aufgezeichnet wurden, beruht. Alle direkten oder indirekten Erwähnungen der Apokalypse in den untersuchten Werken beziehen sich lediglich auf die Dimension der Zerstörung, da der Autor vor allem die psychische Stärke seines Helden, der in solchen apokalyptischen Szenarien einen ständigen und erfolgreichen Kampf gegen den Tod führte, hervorheben wollte.

Ernst Jünger und der mythos des "Neuen Menschen". Eine analyse des Frühwerks

Ernst Jünger und der mythos des "Neuen Menschen". Eine analyse des Frühwerks.