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  1. Destruction, negation, subtraction
    Autor*in: Badiou, Alain
    Erschienen: 17.12.2019

    Pasolini was simultaneously a revolutionary Marxist and a man forever influenced by his religious childhood. So his question was: do the revolutionary becoming of history and political negativity represent a destruction of the tragic beauty of the... mehr

     

    Pasolini was simultaneously a revolutionary Marxist and a man forever influenced by his religious childhood. So his question was: do the revolutionary becoming of history and political negativity represent a destruction of the tragic beauty of the Greek myths and of the peaceful promise of Christianity? Or do we have to speak of a subtraction where an affirmative reconciliation of beauty and peace becomes possible in a new egalitarian world?

     

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    Hinweise zum Inhalt: kostenfrei
    Quelle: GiNDok
    Sprache: Englisch
    Medientyp: Teil eines Buches (Kapitel); bookPart
    Format: Online
    ISBN: 978-3-85132-681-9
    DDC Klassifikation: Literatur und Rhetorik (800)
    Sammlung: ICI Berlin
    Schlagworte: Pasolini, Pier Paolo; Lyrik; Negation; Politik; Ontologie
    Lizenz:

    creativecommons.org/licenses/by-sa/3.0/de/deed.de

    ;

    info:eu-repo/semantics/openAccess

  2. mythisnow - pasoliniandeuropetoday
    Erschienen: 20.12.2019

    mythisnow and pasoliniandeuropetoday are not collages. They are multistabilities of 'nows' which share the common aspect of eternity. mythisnow is focused on manifestations of ancestral terror and shows its equivalences in the Ancient Greek myths, in... mehr

     

    mythisnow and pasoliniandeuropetoday are not collages. They are multistabilities of 'nows' which share the common aspect of eternity. mythisnow is focused on manifestations of ancestral terror and shows its equivalences in the Ancient Greek myths, in Pasolini's work, and in Greek riots.

     

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    Hinweise zum Inhalt: kostenfrei
    Quelle: GiNDok
    Sprache: Englisch
    Medientyp: Teil eines Buches (Kapitel); bookPart
    Format: Online
    ISBN: 978-3-85132-681-9
    DDC Klassifikation: Literatur und Rhetorik (800)
    Sammlung: ICI Berlin
    Schlagworte: Pasolini, Pier Paolo; Collage; Diptychon; Griechenland (Altertum); Mythologie; Gewalt; Protest
    Lizenz:

    creativecommons.org/licenses/by-sa/3.0/de/deed.de

    ;

    info:eu-repo/semantics/openAccess

  3. Transitions, thresholds, traditions : Hans Blumenberg and historical thought
    Erschienen: 09.10.2019

    Like identical twins, philosophy and history seem to be tied together in an uneasy way. On the one hand, philosophy is very concerned to engage with the history of philosophy. There are not many other branches of knowledge so preoccupied with... mehr

     

    Like identical twins, philosophy and history seem to be tied together in an uneasy way. On the one hand, philosophy is very concerned to engage with the history of philosophy. There are not many other branches of knowledge so preoccupied with continually referring back to their own 'classics'. On the other hand, quite a few of these classical authors did not hold history in high esteem. Aristotle, as is well known, even preferred drama to history, arguing that the latter merely concerned contingent issues. The marriage between history and philosophy quite often results in monsters like Hegelian philosophy of history: grand narratives that are all too easy to criticize and to debunk. If we want to better understand this complex relationship between philosophy and history, it might be worth turning to the German philosopher Hans Blumenberg.

     

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  4. Mozart, Da Ponte, and Censorship : Don Giovanni and Così fan tutte at the Vienna Court Theater, 1798–1804
    Erschienen: 25.04.2019

    On July 10, 1798, the German ensemble at the Vienna court theater presented the premiere performance of 'Die Hochzeit des Figaro', the first production of Mozart and Da Ponte's 'Le nozze di Figaro' – and indeed of any Mozart-Da Ponte work – at the... mehr

     

    On July 10, 1798, the German ensemble at the Vienna court theater presented the premiere performance of 'Die Hochzeit des Figaro', the first production of Mozart and Da Ponte's 'Le nozze di Figaro' – and indeed of any Mozart-Da Ponte work – at the court theater since Mozart's death and Da Ponte's departure from the imperial capital. A few months later, on December 11, 1798, a new production of Don Giovanni, titled Don Juan, arrived at the court theater stage. On September 19, 1804, a production of Così fan tutte followed, under the title 'Mädchentreue'. Although the productions were not extraordinarily successful in terms of performance numbers, they represented important trends in the Viennese reception of Mozart's operas that were to continue throughout the early nineteenth century. In particular, these productions left behind numerous records about the convoluted processes through which theatrical works were approved, re-approved, and revised before reaching the stage in Vienna around 1800. Particularly prominent among these processes was censorship. Yet, as this article shows, Viennese censors worked in tandem with numerous private and public agents who likewise contributed to the final shape of pre-existing works' adaptations. An examination of the censorial approaches to Mozart's Don Giovanni and Così fan tutte in Vienna around 1800 shows that late Enlightenment censorship was contradictory and multidirectional and should be considered not as a force of restriction but as an element that affected artworks in ways similar to other social, political, and cultural factors, such as patronage, audience structure, and various social and political ideologies.

     

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  5. Dante's "Inferno" and Walter Benjamin's cities : considerations of place, experience, and media
    Erschienen: 30.10.2019

    When Walter Benjamin wrote his main texts, the theme of the city as hell was extremely popular. Some of his German contemporaries, such as Brecht or Döblin, also used it. Benjamin was aware of these examples, as well as of examples outside Germany,... mehr

     

    When Walter Benjamin wrote his main texts, the theme of the city as hell was extremely popular. Some of his German contemporaries, such as Brecht or Döblin, also used it. Benjamin was aware of these examples, as well as of examples outside Germany, including Joyce's "Ulysses" and Baudelaire's "poetry". And he was - at least in some way - familiar with Dante's "Inferno" and used it, and in particular Dante's conception of hell, for his own purposes. Benjamin's appropriation of the topos of the Inferno has been seen as a critique of capitalism and as a general critique of modernism by means of allegory. In the following analysis, Angela Merte-Rankin takes a slightly different approach and, despite Benjamin's status as an expert on allegory, considers hell in its literal sense as a place and examines the issues of implacement that might follow from this standpoint.

     

    Export in Literaturverwaltung
    Hinweise zum Inhalt: kostenfrei
    Quelle: GiNDok
    Sprache: Englisch
    Medientyp: Teil eines Buches (Kapitel); bookPart
    Format: Online
    ISBN: 978-3-85132-617-8
    DDC Klassifikation: Literatur und Rhetorik (800); Literaturen germanischer Sprachen; Deutsche Literatur (830)
    Sammlung: ICI Berlin
    Schlagworte: Dante Alighieri; Inferno; Rezeption; Benjamin, Walter; Hölle <Motiv>; Stadt <Motiv>; Topografie
    Lizenz:

    creativecommons.org/licenses/by-sa/3.0/de/deed.de

    ;

    info:eu-repo/semantics/openAccess