Since antiquity, prologues are an opportunity to specify adaptations and translations, as well as to be polemical. In the 18th century, both these traditions merge into a new form: translation polemics in prologues. Such polemics, I want to argue in this paper, serve as a cultural and political medium of nation-building. This process becomes apparent in the reception of Voltaire in German-speaking theatre, particularly when it is mediated through English drama. The national antagonisms that are found in (...) English Voltaire translations (Hill, Miller) recur in prominent text such as Gotthold Ephraim Lessing’s Hamburg Dramaturgy and Friedrich Schiller’s prologue To Goethe, On His Producing Voltaire’s »Mahomet« On The Stage in an effort to break new ground for German national theatre. (shrink)

This book, the first of its kind, surveys the career of the renowned Australian-German theatre and opera director Barrie Kosky. Its nine chapters provide multidisciplinary analyses of Barrie Kosky’s working practices and stage productions, from the beginning of his career in Melbourne to his current roles as Head of the Komische Oper Berlin and as a guest director in international demand. Specialists in theatre studies, opera studies, musical theatre studies, aesthetics, and arts administration offer in-depth accounts (...) of Kosky’s unusually wide-ranging engagements with the performing arts – as a director of spoken theatre, operas, musicals, operettas, as an adaptor, a performer, a writer, and an arts manager. Further, this book includes contributions from theatre practitioners with first-hand experience of collaborating with Kosky in the 1990s, who draw on interviews with members of Gilgul, Australia’s first Jewish theatre company, to document this formative period in Kosky’s career. The book investigates the ways in which Kosky has created transnational theatres, through introducing European themes and theatre techniques to his Australian work or through bringing fresh voices to the national dialogue in Germany’s theatre landscape. An appendix contains a timeline and guide to Kosky’s productions to date. (shrink)

The Opera of the National Theater in Belgrade was founded in 1920, but it is well known that opera performances were held long before its official opening. Despite the fact that this is the sole opera house in Belgrade, as well as the fact that it did not face any strong audience fluctuation, it is unusual that no one ever tried to investigate and profile its audience. During the last decades we were witnessing the popularization of the opera via (...) various medias, as well as development and extention of the music industry, which surely changed its social status. The aim of the investigation that is going to be presented is to discover if this social life of opera changed its audience and does it still consists of - according to stereotypes - elderly, high educated individuals of certain professions and high material standards, i.e. at which level the opera is present in the private and public sphere of their lives. Opera Narodnog pozorista u Beogradu osnovana je 1920. godine, ali je poznato da su operske predstave izvodjene i pre njenog zvanicnog osnivanja. Iako u radu nije nailazila na vecu fluktuaciju publike, a i dalje predstavlja jedinu opersku kucu u Beogradu, do sada nije bilo pokusaja da se naucno istrazi i profilise njena publika. Poslednjih decenija svedoci smo sve vece popularizacije operske muzike putem razlicitih medija, te razvijanjem i sirenjem muzicke industrije, sto dovodi i do promene njenog socijalnog statusa. Cilj ovog dela istrazivanja jeste da sazna da li je izmenjeni socijalni zivot opere izmenio i njenu publiku, da li nju - prema ustaljenim shvatanjima - i dalje pretezno cine visokoobrazovani, stariji pojedinci odredjenih zanimanja i visokog materijalnog standarda, odnosno koliko je opera zaista prisutna u privatnoj i javnoj sferi njihovih zivota. (shrink)

Contents: The Communist Party and the politics of cultural change in postwar Italy, 1945-50 / Stephen Gundle -- Writing and the real world : Italian narrative in the period of reconstruction / Michael Caesar -- The making and unmaking of Neorealism in postwar Italy / David Forgacs -- The place of Neorealism in Italian cinema from 1945 to 1954 / Christopher Wagstaff -- Tradition and social change in the French and Italian cinemas of the reconstruction / Pierre Sorlin -- Humanism (...) and national unity : the ideological reconstruction of France / Michael Kelly -- Les Lettres Franca̜ises and the failure of the French postwar "Renaissance" / Nicholas Hewitt -- The reconstruction of culture : Peuple et Culture and the popular education movement / Brian Rigby. The chameleon rearguard of cultural tradition : the case of Jacques Laurent / Colin Nettelbeck -- German literature in 1945 : liberation for a new beginning / Helmut Peitsch -- Continuity or change? : aspects of West German writing after 1945 / Keith Bullivant -- West German theatre in the period of reconstruction / Ursula Fries. (shrink)

In the article the mutual influence of folk theatre, Austrian Singspiel and Viennese opera in the genres of comic opera, operetta and drama performances involving music, singing and dancing is studied. The powerful influence of Italian and French opera schools, as well as the Italian Commedia Dell'arte led to the flourishing of music and theatre art in Austria: opera buffa (A. Salieri, Ch. W. Glück, J. Haydn, W. A. Mozart), fairy-tale comedies of F. Raimund and satirical dramas of (...) Nestroy. Their game-like nature finds its expression in musical turns, satirical songs and duets. Viennese dance operetta has absorbed the traditions of Viennese popular comedy and comic opera. Recitative, vocal music and folk dances were the key elements of operettas (J. Strauss junior, F. von Suppe, K. Millöcker, K. Zeller, F. Lehar). The music and the game in Austria are the results of theatralization of life: the life turns into something like art. Austrian culture, which is addressed directly to the human being and short of complex philosophical musings and speculative schemes, has genetically built-in playful, musical and theatrical basis, as well as German. Strongly-pronounced playful and musical source as an important national component of the culture, its code, determine its highly fictitious character (staginess) and integrity (both genre and intermediately), thereby maintain its special status in the European culture. (shrink)

El artículo ofrece un estudio del Wilhelm Meister de Goethe, en especial, de Los años de aprendizaje, en cuanto paradigma del género que el romanticismo definió como “novela de formación” (Bildungsroman). También se toma en consideración la versión inicial de la novela, titulada La misión teatral. El tema fundamental es el de la formación por el teatro; éste es mucho más que un simple ideal artístico, por cuanto implica la identificación de teatro y vida, lo que determina el trabajo de (...) la formación en función de la libertad. (shrink)

Eino Kaila brought new ideas to Finnish philosophy and psychology. He studied at the University of Helsinki in 1908–10 and made study visits, first to Paris in 1911, where he listened to Henri Bergson's lectures, and also to Berlin in 1914. Kaila's dissertation, Über die Motivation und Entscheidung, appeared in 1916. He worked as a critic of theatre and literature and as a dramatist in the Finnish National Theatre, before being nominated professor of philosophy in 1921 to (...) the newly founded University of Turku. There he initiated the founding of the first Finnish institute of experimental psychology. In addition to philosophical works, he published works in psychology. Kaila stayed in Turku until 1930, when he became professor of theoretical philosophy and psychology at the University of Helsinki. In 1948 he was invited to become a member of the recently established Academy of Finland. One may speak of Kaila's Turku period and his Helsinki period . Kaila considered himself a philosopher of nature, whose task is to articulate, using all available means of science, a coherent conception of the world and of mind's place within it. As fellow of the Finnish Academy, he devoted himself to a great project in natural philosophy. The project had two components: first, a rigorous systematic study aiming at a unitary conception of nature, and second, the explication of this conception in a style accessible to a broader audience. The systematic study was to be realized in three volumes; only the first of these ) appeared before his death. As to the more popular work, it was meant to be divided into four parts, of which only the first is complete. The entire planned work was entitled as Hahmottuva maailma . Its first part is devoted to the problem of reality; it concerns the perceptual and conceptual components of everyday experience, and it has been translated from Finnish into German ). (shrink)

In the winter of 1807, while Berlin was occupied by French troops, the philosopher Johann Gottlieb Fichte presented fourteen public lectures that have long been studied as a major statement of modern nationalism. Yet Fichte's _Addresses to the German Nation_ have also been interpreted by many as a vision of a cosmopolitan alternative to nationalism. This new edition of the _Addresses_ is designed to make Fichte's arguments more accessible to English-speaking readers. The clear, readable, and reliable translation is accompanied (...) by a chronology of the events surrounding Fichte's life, suggestions for further reading, and an index. The groundbreaking introductory essay situates Fichte's theory of the nation state in the history of modern political thought. It provides historians, political theorists, and other students of nationalism with a fresh perspective for considering the interface between cosmopolitanism and republicanism, patriotism and nationalism. (shrink)

This paper is an exploration of the ideology of National Socialism in the work and activity of the German terrorist group and Black Metal band Absurd. Historians are divided—and many have criticized how postwar Germany dealt with denazification—, but the fact is that Nazi ideology has been part of the political and social spheres in Germany since then. Neo‑Nazism saw a revival especially in the first years after unification, which coincided with the beginning of Absurd’s story and career. (...) Today, they hold the title of the National Socialist Black Metal act par excellence, with a 28‑year music career actively supporting and promoting Nazi ideology. Absurd makes a very interesting case study, since the band has played a key role in preserving and transmitting Nazi ideology, not just in Germany, but also worldwide. (shrink)

The European Legacy, Volume 17, Issue 3, Page 426-428, June 2012.

This is the first translation of Fichte's addresses to the German nation for almost 100 years. The series of 14 speeches, delivered whilst Berlin was under French occupation after Prussia's disastrous defeat at the Battle of Jena in 1806, is widely regarded as a founding document of German nationalism, celebrated and reviled in equal measure. Fichte's account of the distinctiveness of the German people and his belief in the native superiority of its culture helped to shape (...) class='Hi'>German national identity throughout the nineteenth century and beyond. With an extensive introduction that puts Fichte's argument in its intellectual and historical context, this edition brings an important and seminal work to a modern readership. All of the usual series features are provided, including notes for further reading, chronology, and brief biographies of key individuals. (shrink)

(1992). Community solidarity fees: A case study of Sabac national theatre. World Futures: Vol. 33, Culture and Development: European Experiences and Challenges A Special Research Report of the European Culture Impact Research Consortium (EUROCIRCON), pp. 61-66.

This essay explores the discursive invocation of ‘civil war’ to describe the polarization of the political terrain in post-Referendum Britain in order to contextualize the National Theatre’s production of Carol Ann Duffy and Rufus Norris’s ‘verbatim’ play My Country and its representation of Brexit. It shows how the political reality of Brexit, understood as a crisis of ‘general enculturation’, undermined the NT’s attempt to transcend the impasse of the political context. It argues that in identifying the NT with (...) the play’s central figure of Britannia, an image of reconciliation, the theatre failed to account for its own implication in the wider crisis of enculturation. (shrink)

This paper analyzes and evaluates the 2007 majority opinion of the German National Ethics Council which seeks to establish new information (as to the inferior quality of legally procurable human embryonic stem cells) as a sufficient reason for a relaxation of the 2002 Stem Cell Law. A micro-level analysis of the opinion’s central section is conducted and evaluated vis à vis the strongest known opponent position in the national debate at that time. The argumentation is claimed to (...) rely on an unsupported semantic assumption regarding the parthood relation of the 2002 compromise and to misconstrue the strongest known opponent position. (shrink)

Carl Schmitt positioned his constitutional theory in the context of a “political theology” and referred to himself repeatedly as a Catholic. Schmitt scholarship has long pursued this self-depiction without establishing a convincing “Catholic” doctrine, political position, or life praxis. This chapter provides an overview and critical interrogation of Schmitt’s self-description. By emphasizing his political and theological distance from his early background and from the political Catholicism of the interwar period, the chapter analyzes his systematic connection of theism, personalism, and decisionism, (...) and considers Schmitt as a “religious” author and person. Schmitt’s apocalyptically dramatized perception and stylization of life as a permanent “state of exception” can be seen as a religious practice of testing contingency and sovereignty and self-assigning to “salvation.” Schmitt must thus be understood not as a part of majority Catholicism, but beyond it, among the religious movements in the history of modern secular faith. (shrink)

Ambiguous Memory examines the role of memory in the building of a new national identity in reunified Germany. Contentious debates surrounding contemporary monuments to the Nazi past testify to the ambiguity of German memory and the continued link of Nazism with contemporary German national identity. The book discusses how certain monuments, and the ways Germans have viewed them, contribute to the different ways Germans have dealt with the past, and how they continue to deal with it (...) as one country. Providing a topography of East, West, and unified German memory during the 1980s and the 1990s, this work contributes to a better understanding of contemporary national identity and society. I show how public debate over such issues at Ronald Reagan's visit to Bitburg, the re-narration of Buchenwald as Nazi and Soviet internment camp, the Goldhagen controversy, and the Holocaust Memorial debate in Berlin contribute to the complexities surrounding the way Germans see themselves, their relationship to the past, and their future identity as a nation. The volume traces how the past was used and abused by both the East and the West in the 1980s, and how these approaches merged in the 1990s. (shrink)

Interpretation always takes place in the present tense. It is worth reminding ourselves of this, because few philosophical texts or treatises have suffered the rise and fall of the vagaries of their own contemporary Weltanschauung as Fichte's Addresses to the German Nation. Few texts in history have been simultaneously so overestimated and underestimated in their impact and importance as Fichte's Addresses; and therefore few texts can be said to be so misunderstood—and so need in of reassessment. This collection, Fichte's (...) Addresses to the German Nation Reconsidered, edited by Daniel Breazeale and Tom Rockmore, precisely seeks to fill this lacuna. The interpretative fate of the Addresses has always hinged on the... (shrink)

Essays on one of Fichte's best known and most controversial works. One of J. G. Fichte’s best-known works, Addresses to the German Nation is based on a series of speeches he gave in Berlin when the city was under French occupation. They feature Fichte’s diagnosis of his own era in European history as well as his call for a new sense of German national identity, based upon a common language and culture rather than “blood and soil.” These (...) speeches, often interpreted as key documents in the rise of modern nationalism, also contain Fichte’s most sustained reflections on pedagogical issues, including his ideas for a new egalitarian system of Prussian national education. The contributors’ reconsideration of the speeches deal not only with technical philosophical issues such as the relationship between language and identity, and the tensions between universal and particular motifs in the text, but also with issues of broader concern, including education, nationalism, and the connection between morality and politics. Daniel Breazeale is Professor of Philosophy and Distinguished Professor of Arts and Sciences at the University of Kentucky. Tom Rockmore is Humanities Chair Professor and Professor of Philosophy at Peking University, China. Both have authored, edited, and translated many books. Together, they are the coeditors of Fichte’s Vocation of Man: New Interpretive and Critical Essays, also published by SUNY Press. (shrink)

Carl Schmitt positioned his constitutional theory in the context of a “political theology” and referred to himself repeatedly as a Catholic. Schmitt scholarship has long pursued this self-depiction without establishing a convincing “Catholic” doctrine, political position, or life praxis. This chapter provides an overview and critical interrogation of Schmitt’s self-description. By emphasizing his political and theological distance from his early background and from the political Catholicism of the interwar period, the chapter analyzes his systematic connection of theism, personalism, and decisionism, (...) and considers Schmitt as a “religious” author and person. Schmitt’s apocalyptically dramatized perception and stylization of life as a permanent “state of exception” can be seen as a religious practice of testing contingency and sovereignty and self-assigning to “salvation.” Schmitt must thus be understood not as a part of majority Catholicism, but beyond it, among the religious movements in the history of modern secular faith. (shrink)

During the late 60s and the beginning of the 1970s, the changes within the Communist Party which followed the death of Gheorghe Gheorghiu-Dej, the former Secretary General, led to a certain openness for culture and arts, from an ideological point of view. The so-called ideological “thaw” would not last more than 6 years, but it was needed all along in order for the new nomenklatura system of Ceauşescu’s generation to take over the rule of the state and of the party. (...) This is the broader context in which the relationship between the theatre repertories, the audience and the politics would develop further in a very insidious way. Facing a massive “peasantization of the working class” due to the regime’s investments in the industrial sector, the configuration of the urban population in Romanian cities had changed significantly. The inflow of poorly educated persons had a strong negative impact on the efforts to educate the urban population in the working-class socialist ethics. In this study we are profiling the beneficiaries of the cultural policies of the regime: What were their cultural background and their expectations regarding theatre and why did the authorities intervene in regulating the theatre market? (shrink)

This article examines the way Heidegger’s account of the unique spiritual mission of the German people is haunted by certain conceptions of the election of Israel. I argue that Heidegger’s political ontology is informed by three conceptions of the mission of Israel: biblical salvation history, kabbalistic panentheism, and Germany literary Hebraism. To link these disparate historical phenomena to Heidegger’s account of the mission of being German, I develop a methodological approach for understanding Heidegger’s “free use of the (...) class='Hi'>national” that accounts for the way it binds different sources into a new figure that is haunted by the spirit of Israel. (shrink)

Theater requires artifice, justice demands truth. Are these demands as irreconcilable as the pejorative term “show trials” suggests? After the Second World War, canonical directors and playwrights sought to claim a new public role for theater by restaging the era’s great trials as shows. The Nuremberg trials, the Eichmann trial, and the Auschwitz trials were all performed multiple times, first in courts and then in theaters. Does justice require both courtrooms and stages? In Staged, Minou Arjomand draws on a rich (...) archive of postwar German and American rehearsals and performances to reveal how theater can become a place for forms of storytelling and judgment that are inadmissible in a court of law but indispensable for public life. She unveils the affinities between dramatists like Bertolt Brecht, Erwin Piscator, and Peter Weiss and philosophers such as Hannah Arendt and Walter Benjamin, showing how they responded to the rise of fascism with a new politics of performance. Linking performance with theories of aesthetics, history, and politics, Arjomand argues that it is not subject matter that makes theater political but rather the act of judging a performance in the company of others. Staged weaves together theater history and political philosophy into a powerful and timely case for the importance of theaters as public institutions. (shrink)

Os Discursos à Nação Alemã de Fichte foram considerados durante muito tempo uma importante contribuição para o desenvolvimento do nacionalismo alemão e do pensamento nacionalista em geral Todavia, embora os Discursos continuem sendo lidos como um prenúncio das aspirações nacionalistas alemãs, grande parte de seu contendo substantivo é hoje ignorado. Neste artigo, o Autor examina um aspecto deveras negligenciado dos Discursos, a saber, o “sistema de educação nacional” neles propostos e que merecem séria consideração pelo modo como Fichte concebe e (...) articula o papel e função da intelligentsia em busca de salvação nacional. Argumenta-se, de modo especial, que é através da exaltação da educação que Fichte legitima sua proposta de governo por uma elite erudita, um tipo de despotismo esclareci do. Mostra-se ainda que o escopo dos privilégios concedidos aos “eruditos” na reforma educacional de Fichte solapa seu potencial radicalmente igualitarista, e que sua proposta termina por mostrar-se incoerente e inconsistente em seus próprios termos, na medida em que os propósitos explícitos de seu sistema e os resultados prometidos invalidariam completamente, se levados a cabo, a reivindicação dos esclarecidos de governa, se não a necessidade de tais governantes. (shrink)

Für Ernst Troeltsch ist das Verständnis der Gegenwart das Ziel der Geschichtswissenschaft. Die These dieses Artikels ist, daß Troeltsch in seiner Auslegung der Geschichte des Protestantismus die Bedeutung des protestantischen Christentums für moderne deutsche Identität feststellt. Sein Argument, daß der lutherische Idealismus den “metaphysisch-religiösen” Geist der Deutschen untermauert, basiert auf einer kulturtheoretisch geprägten Analyse nationaler Identität und wird im Kontext der Debatten des späten neunzehnten und frühen zwanzigsten Jahrhunderts über den konfessionellen Charakter der deutschen Nationalität artikuliert. Dieser Beitrag widmet sich (...) in diesem Sinne der Untersuchung politischer Implikationen der deutschen Theologie um die Wende zum zwanzigsten Jahrhundert und integriert die neuere Nationalismusforschung mit der “intellectual history” des deutschen Protestantismus. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Theater of Nature: Jean Bodin and Renaissance Science by Ann BlairPeter DearAnn Blair. The Theater of Nature: Jean Bodin and Renaissance Science. Princeton: Princeton University Press, 1997. Pp. xiv + 382. Cloth, $45.00.Jean Bodin’s Universae naturae theatrum (1596) is the least celebrated of all the major publications by this outstanding figure of the French renaissance. It lacks the apparent political, historiographical, and philosophical relevance of Bodin’s well-known (...) earlier works (the Methodus ad facilem historiarum cognitionem of 1566, Les six livres de la République of 1576, and De la démonomanie des sorciers of 1580, all receiving much more attention then as now). Ann Blair focuses our attention on the Theatrum, as a text whose significance for her book exists on at least three interrelated levels: there is its relation to Bodin’s views in the more famous texts; its advantage as a treatise on natural philosophy about whose author we know much more (intellectually) than those of most such works; and in connection with the last, there is above all its value as a distinguished representative of a genre of natural philosophical writings that was prominent in the late sixteenth and early seventeenth centuries.It is the third consideration that motivates Blair’s book most centrally. She declares her wish to enrich our view of the history of science with works, like the Theatrum, that were not made by subsequently regarded stars such as Galileo or Descartes; the very typicality of its genre makes the Theatrum, she argues, a valuable window on contemporary understandings of what natural knowledge was and should be about. Bodin’s enterprise possessed a religious core: natural philosophy was for him a tool to be used in shoring up broadly irenical positions (of the kind associated with the Colloquium heptaplomeres, usually attributed, as here, to Bodin). This kind of “natural theology” avant la lettre characterized a good number of different thinkers and writers on natural philosophy in this period, many of them German (besides their discussion here, Blair is considering such people, and their project of pia philosophia, more fully in her current work). It is a subject that, more than anything, stands at the heart of her study.Bodin, rather conventionally, tried to establish a close liaison between natural philosophy and religious knowledge—that is, between those things to be inferred from experience of the natural world and the central dogmas of faith. Less conventionally, he attempted to demonstrate on occasion truths that were far from orthodox. Regardless of whether Bodin was “really” a Catholic or a Protestant (and Blair observes the great interest in the Theatrum shown by German Calvinists in the first few decades after its original publication), his general religious stance was one of accommodation. Thus good philosophizing could demonstrate (in the weak, rhetorical sense of that term) such doctrines as the existence and providence of God; contentious issues, such as the correct interpretation of the Eucharist, were left aside. Nonetheless, Bodin also argued, at such length and with such vigor as to have the propositions condemned by the Catholic church, that human souls and angels (as well as, more usually, demons) were corporeal beings. The importance to Bodin of this position stemmed from its sociopolitical implications: in particular, if human souls were incorporeal, it became unclear how rewards and punishments—necessary sanctions for restoring the social order threatened by the Wars of Religion—could be meted out after death. Curiously, such a view seems to imply that pleasure and pain are inextricably connected to bodies alone. [End Page 363]Among the historiographical strands informing Blair’s approach is recent literature on the “history of the book,” best known through the work of Roger Chartier. Accordingly, Blair discusses the vicissitudes of production of Bodin’s book in its various editions and emissions, and carefully considers, along with the likely reading practices by the aid of which Bodin came to compose it, the various uses to which its first readers put it. Her major interpretive trope is that of the commonplace book. While acknowledging the lack of direct material evidence for Bodin’s use of such a technique as his chief means of... (shrink)