{"title":"« ein Mann […] mit Namen Aufresne, der aller Unnatur den Krieg erklärte » (Goethe, Dichtung und Wahrheit, III, 11). Le débat sur le jeu de l’acteur en France et en Allemagne dans le dernier tiers du XVIIIe siècle","authors":"J. Valentin","doi":"10.3917/eger.292.0497","DOIUrl":"https://doi.org/10.3917/eger.292.0497","url":null,"abstract":"","PeriodicalId":41323,"journal":{"name":"ETUDES GERMANIQUES","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70094212","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Résistance et opposition. Le cas de la RDA","authors":"Anne-Marie Saint-Gille","doi":"10.3917/eger.290.0313","DOIUrl":"https://doi.org/10.3917/eger.290.0313","url":null,"abstract":"","PeriodicalId":41323,"journal":{"name":"ETUDES GERMANIQUES","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70093720","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Le concept d’amour courtois a depuis toujours represente un probleme difficile durant tout le Moyen Âge certes, mais aussi sans que l’on soit parvenu pour autant a en saisir le sens jusqu’a aujourd’hui. L’institution curiale elle-meme resiste a l’interpretation car on y debat de formes de sociabilite – l’honneur, la dignite et les valeurs – qui s’y expriment a travers des negociations dont le role est essentiel. Dans cette etude, je propose de comprendre la vie de cour comme une forme de jeu dont la pratique est a la fois metaphorique, intellectuelle, rhetorique et philosophique, grâce a quoi precisement les innombrables contradictions et enigmes qui apparaissent dans des textes litteraires et philosophiques peuvent trouver une explication pertinente.Le modele du jeu s’exprime de la meilleure facon dans des œuvres telles que le De amore, d’Andreas Capellanus, le Tristan de Gottfried de Strasbourg, Diu Crone de Heinrich von dem Turlin, Sir Gawain et le Chevalier Vert, les divers recits de Heinrich Kaufringer et les reflexions theoriques de Nicolas de Cues.
在整个中世纪，礼貌爱情的概念一直是一个困难的问题，但它的含义直到今天还没有被理解。教廷机构本身抵制这种解释，因为它讨论各种形式的社交——荣誉、尊严和价值——这些都是通过谈判表达出来的，而谈判的作用是至关重要的。这个案例中,我建议法院了解生活的实践作为一种游戏形式,其中a既是metaphorique rhetorique从思想和哲学,通过了什么precisement无数的文本中出现的矛盾和titanji btl及国家相关哲学问题可以找到一个解释。游戏模式,可以更好地表达amore》等作品中,andreas Capellanus特里斯坦在斯特拉斯堡(Gottfried、宫内节育器(Heinrich von dem Turlin境地,Sir Gawain海因里希和骑士、绿各种recits Kaufringer尼古拉斯和理论思考的证明。
{"title":"Spiel als Kultur und Spiel als Medium der Lebensbewältigung im Mittelalter – Vom Schachspiel und Liebeswerben hin bis zur literarischen Spielführung","authors":"A. Classen","doi":"10.3917/eger.291.0333","DOIUrl":"https://doi.org/10.3917/eger.291.0333","url":null,"abstract":"Le concept d’amour courtois a depuis toujours represente un probleme difficile durant tout le Moyen Âge certes, mais aussi sans que l’on soit parvenu pour autant a en saisir le sens jusqu’a aujourd’hui. L’institution curiale elle-meme resiste a l’interpretation car on y debat de formes de sociabilite – l’honneur, la dignite et les valeurs – qui s’y expriment a travers des negociations dont le role est essentiel. Dans cette etude, je propose de comprendre la vie de cour comme une forme de jeu dont la pratique est a la fois metaphorique, intellectuelle, rhetorique et philosophique, grâce a quoi precisement les innombrables contradictions et enigmes qui apparaissent dans des textes litteraires et philosophiques peuvent trouver une explication pertinente.Le modele du jeu s’exprime de la meilleure facon dans des œuvres telles que le De amore, d’Andreas Capellanus, le Tristan de Gottfried de Strasbourg, Diu Crone de Heinrich von dem Turlin, Sir Gawain et le Chevalier Vert, les divers recits de Heinrich Kaufringer et les reflexions theoriques de Nicolas de Cues.","PeriodicalId":41323,"journal":{"name":"ETUDES GERMANIQUES","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70093937","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Die Dreigroschenoper \"Off-Broadway\" (1954-1961). Marc Blitzsteins Bühnenfassung für das New Yorker Theater de Lys","authors":"Christine Roger","doi":"10.3917/eger.289.0019","DOIUrl":"https://doi.org/10.3917/eger.289.0019","url":null,"abstract":"","PeriodicalId":41323,"journal":{"name":"ETUDES GERMANIQUES","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70092961","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"« Non un programme, mais une direction »","authors":"Sylvain Briens, P. Stahl, Raphaëlle Jamet","doi":"10.3917/EGER.290.0149","DOIUrl":"https://doi.org/10.3917/EGER.290.0149","url":null,"abstract":"","PeriodicalId":41323,"journal":{"name":"ETUDES GERMANIQUES","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70093480","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Von Moses zu Marx. Wilhelm Voßkamps „Poetik und Geschichte literarischer Utopien“","authors":"B. Witte","doi":"10.3917/EGER.290.0303","DOIUrl":"https://doi.org/10.3917/EGER.290.0303","url":null,"abstract":"","PeriodicalId":41323,"journal":{"name":"ETUDES GERMANIQUES","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70093673","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Hugo von Hofmannsthal expressed his wish to adapt the neo-Latin Tragicomedy Cenodoxus (1602-1609) by the Jesuit playwright Jacob Bidermann on the very day his new version of the morality play Jedermann (Everyman) was staged, on 26 August 1920. Hofmannsthal did not use the original Latin version, but the German translation (1635) by Joachim Meichel. From early on, Hofmannsthal set his work in the vicinity of 16th-century historical/literary figures, in particular Agrippa and Faust. However, his reading of the Judgment play of Radstadt, of Styrian origin, inspired him to give the Christian tragedy an optimistic ending, in the tradition of the late-medieval miracle plays.Josef Nadler’s theses on Catholic Baroque literature in Southern Germany and Austria had a great impact on Hofmannsthal’s choice of subject. However, he intended to tackle once again, and in a novel way, the crisis that his country and the European continent as a whole were going through in the wake of the First World War. In his play, Hofmannsthal makes withering comments about the harmful impact of technological development on the moral values of the community, hence his warnings against interventions on the human body. The distinction, which in his view is absolute, between true and false science, is based on E. Hello’s philosophical and theological views and on H. G. Wells’ Science Fiction Novel The Island of Dr. Moreau, which reflects the entanglement of man and animal. Thus, Hofmannsthal expresses his anguish at the sight of a world spiralling “out of joint”. The reason why his dramatic sketch remained unfinished lies first and foremost in the almost unlimited number of gathered Notes. But even more crucial was Hofmannsthal’s renunciation to produce a relatively clear plot line at an early stage of the work, because of his use of the Benjaminian melancholy. The “laziness of the heart”, consubstantial with acedia, is indeed contrary to the vital impulse that pushes the protagonist to act without any rest. It is the diametrically opposite of Benjamin’s postulate of the sovereign as a character unfit for action.
{"title":"Hugo von Hofmannsthal. « Notices pour un Xenodoxus » (1920-1925). Du néobaroque à la crise de la modernité","authors":"J. Valentin","doi":"10.3917/EGER.291.0377","DOIUrl":"https://doi.org/10.3917/EGER.291.0377","url":null,"abstract":"Hugo von Hofmannsthal expressed his wish to adapt the neo-Latin Tragicomedy Cenodoxus (1602-1609) by the Jesuit playwright Jacob Bidermann on the very day his new version of the morality play Jedermann (Everyman) was staged, on 26 August 1920. Hofmannsthal did not use the original Latin version, but the German translation (1635) by Joachim Meichel. From early on, Hofmannsthal set his work in the vicinity of 16th-century historical/literary figures, in particular Agrippa and Faust. However, his reading of the Judgment play of Radstadt, of Styrian origin, inspired him to give the Christian tragedy an optimistic ending, in the tradition of the late-medieval miracle plays.Josef Nadler’s theses on Catholic Baroque literature in Southern Germany and Austria had a great impact on Hofmannsthal’s choice of subject. However, he intended to tackle once again, and in a novel way, the crisis that his country and the European continent as a whole were going through in the wake of the First World War. In his play, Hofmannsthal makes withering comments about the harmful impact of technological development on the moral values of the community, hence his warnings against interventions on the human body. The distinction, which in his view is absolute, between true and false science, is based on E. Hello’s philosophical and theological views and on H. G. Wells’ Science Fiction Novel The Island of Dr. Moreau, which reflects the entanglement of man and animal. Thus, Hofmannsthal expresses his anguish at the sight of a world spiralling “out of joint”. The reason why his dramatic sketch remained unfinished lies first and foremost in the almost unlimited number of gathered Notes. But even more crucial was Hofmannsthal’s renunciation to produce a relatively clear plot line at an early stage of the work, because of his use of the Benjaminian melancholy. The “laziness of the heart”, consubstantial with acedia, is indeed contrary to the vital impulse that pushes the protagonist to act without any rest. It is the diametrically opposite of Benjamin’s postulate of the sovereign as a character unfit for action.","PeriodicalId":41323,"journal":{"name":"ETUDES GERMANIQUES","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70093989","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"\"Hembûches\" et \"chommodités\" de traduction. Étude comparative du carmen 84 de Catulle et de la traduction d'Eduard Mörike \"Auf den Arrius\"","authors":"Sara Cusset","doi":"10.3917/EGER.289.0003","DOIUrl":"https://doi.org/10.3917/EGER.289.0003","url":null,"abstract":"","PeriodicalId":41323,"journal":{"name":"ETUDES GERMANIQUES","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70092945","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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