With Friedrich Schiller
as the lynchpin, the first chapter teases apart late eighteenth-century literary philosophies of art and social reform that shape the ways in which musicians of the romantic period developed their ideas of reform through music.
(1759- 805) was a German poet, philosopher and historian.
The discussion centered on German poet and playwright Friedrich Schiller
, who Pamuk draws upon heavily in his new book.
could not have known these lectures, except by reputation, and probably did not know Smith's review of Rousseau, but it is impossible to imagine that he did not know and engage with Smith's two major treatises.
This week's new production was Mary Stuart, Donizetti's take - based on a play by Friedrich Schiller
- of the relationship between Elizabeth I and Mary, Queen of Scots (the Stuart of the title).
Editors Fluhr and Elsner (dermatology, Friedrich Schiller
German dramatist Friedrich Schiller
wrote the play Mary Stuart in 1800 and this is a new version by Mike Poulton, directed by Terry.
Hoevels was taking part in Mary Stuart, a play about the tragic queen written by German writer Friedrich Schiller
From the play by Friedrich Schiller
on which the great Verdi opera Don Carlos is based, I would like to be Rodrigo, the Marquis of Posa.
In his recent book, The Architecture of Happiness, Alain de Botton makes an interesting connection between local hero Friedrich Schiller
, Wilhelm von Humboldt, Karl Friedrich Schinkel and Albert Speer, in consideration of attitudes to idealised art, the Greek Revival and the notion that ancient Greek classicism presented one of the most nourishing sources of inspiration for modern Westerners.
Address for correspondence: Roland Zell, Institute of Virology and Antiviral Therapy, Medical Centre at the Friedrich Schiller
University, Hans Knoell Str 2, D-07745 Jena, Germany; email: Roland.
Of the nine plays completed by Friedrich Schiller
, Wilhelm Tell (1804) is probably the most well known to general theater audiences and students of theater history.
As the French philosopher Jacques Ranciere has observed, this denigration of the aesthetic ignores the fact that the system of art as we understand it in the West--the "aesthetic regime of art" inaugurated by Friedrich Schiller
and the Romantics and still operative to this day--is predicated precisely on a confusion between art's autonomy (its position at one remove from instrumental rationality) and heteronomy (its blurring of art and life).
To counter the desecration of Joan perpetrated by Friedrich Schiller
, Mark Twain, and Bertolt Brecht, and even modernists like Vita Sackville-West whose androgynous Joan symbolizes a cult of narcissism, Astell offers Jewish and Catholic writers who honor the "Catholic" rather than the "catholic" Joan, the latter of whom serves merely as "mirror for those who marvel at her" (185).
There are allusions to more recent authors and their works, including Friedrich Schiller
, Jean-Jacques Rousseau, and the Grimm brothers and indirect or veiled comments on the artistic, philosophical, and intellectual trends such as Friedrich Nietzsche's work.