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Displaying results 1 to 5 of 15.

  1. Wiedergänger und Vorbote : zur Darstellung des böhmischen Königs Přemysl Otakar II. bei Franz Grillparzer und František Zavřel Revenant and harbinger : on the depiction of the Bohemian King Otakar II in the work of Franz Grillparzer and František Zavřel
    Author: Urbanec, Miroslav
    Published: 10.10.2018

    This study compares the dramas König Ottokars Glück und Ende by the Austrian dramatist Franz Grillparzer and Král Přemysl Otakar Druhý by the Czech writer František Zavřel. The focus is on the character of the Bohemian King Otakar II. The king is... more

     

    This study compares the dramas König Ottokars Glück und Ende by the Austrian dramatist Franz Grillparzer and Král Přemysl Otakar Druhý by the Czech writer František Zavřel. The focus is on the character of the Bohemian King Otakar II. The king is depicted by both authors as a strong and remarkable figure, but while Grillparzer presents him as an anti-hero who falls victim to his own ruthless politics, Zavřel shows him to be a form of superman, whose downfall is caused by the pettiness of those around him. The study explores these differences and seeks to explain their origins

     
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    Source: CompaRe
    Language: German
    Media type: Article
    Format: Online
    DDC Categories: 830
    Subjects: Grillparzer, Franz; König Ottokars Glück und Ende; Otakar II., Böhmen, König; Zavřel, František
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    publikationen.ub.uni-frankfurt.de/home/index/help

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    info:eu-repo/semantics/openAccess
  2. Der König und der Usurpator : die Figuren von Franz Grillparzers Primislaus Ottokar und Jaroslav Hilberts Záviš z Falkenštejna im Vergleich The king and the usurper : comparing the characters of Franz Grillparzer's Primislaus Ottokar und Jaroslav Hilbert's Záviš z Falkenštejna
    Author: Urbanec, Miroslav
    Published: 12.11.2018

    King Ottokar II and Záviš z Falkenštejna are often depicted in literary fiction as rivals – both in politics and in love. A similar representation can be found in the work of Franz Grillparzer, whose Zawisch incorporates both demonic and comic... more

     

    King Ottokar II and Záviš z Falkenštejna are often depicted in literary fiction as rivals – both in politics and in love. A similar representation can be found in the work of Franz Grillparzer, whose Zawisch incorporates both demonic and comic elements. He can be interpreted in various ways: as a sophisticated plotter of intrigues, a malicious poisoner, an arrogant figure who betrays his king and his country due to his wounded pride, or a seducer who eventually becomes subservient to an Amazon whom he had originally envisaged as his own puppet. Directors, viewers and readers usually do not see him as a great statesman. However, Jaroslav Hilbert depicted him in an entirely different manner. His Falkenštejn is a violent conspirator and usurper - but also a patriot, a statesman and a modern thinker. In Grillparzers work, the character of Zawisch is more reminiscent of his traditional rival Ottakar than of Hilbert's depiction. This study presents a comparison of both characters.

     
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    Source: CompaRe
    Language: German
    Media type: Article
    Format: Online
    DDC Categories: 830
    Subjects: Grillparzer, Franz; König Ottokars Glück und Ende; Zavřel, František; Hilbert, Jaroslav; Záviš, z Falkenštejna; Literarische Gestalt
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    publikationen.ub.uni-frankfurt.de/home/index/help

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    info:eu-repo/semantics/openAccess
  3. Königin oder Dirne? : zur Darstellung der böhmischen Königin Kunigunde von Halitsch bei Franz Grillparzer und František Zavřel Queen or whore? : on the depiction of the Queen of Bohemia Kunigunda of Galicia by Franz Grillparzer and František Zavřel
    Author: Urbanec, Miroslav

    Kunigunda of Galicia, the second wife of the Bohemian King Otokar II and later the second wife of the powerful nobleman Záviš of Falkenstein, suffers from a very poor reputation due to her depiction in medieval chronicles, especially the Styrian... more

     

    Kunigunda of Galicia, the second wife of the Bohemian King Otokar II and later the second wife of the powerful nobleman Záviš of Falkenstein, suffers from a very poor reputation due to her depiction in medieval chronicles, especially the Styrian Rhymed Chronicle written by Ottokar aus der Gaal. Her image as a domineering and morally dubious figure is also echoed in Franz Grillparzer's play "König Ottokars Glück und Ende", which draws partly on the Styrian chronicle as source material. This study attempts to answer the question of what role Kunigunda plays in Grillparzer's drama, and whether she genuinely deserves to be known as a "whore" – a designation which was applied to her immediately after the play's premiere. Grillparzer's version of Kunigunda is also compared with her depiction in the tragedy "Král Přemysl Otakar Druhý" by František Zavřel.

     
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    Source: CompaRe
    Language: German
    Media type: Article
    Format: Online
    DDC Categories: 830
    Subjects: Grillparzer, Franz; König Ottokars Glück und Ende
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    publikationen.ub.uni-frankfurt.de/home/index/help

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    info:eu-repo/semantics/openAccess
  4. Wartburg, Wartburgfest, "Wartburg-Zeit" : Richard Wagners "Tannhäuser und der Sängerkrieg auf Wartburg", die Bildmetapher "Wartburg" und ihre Anwendungsmöglichkeiten in der deutschen (Literatur-)Geschichte Wagnerův "Tannhäuser a zápas pěvců na Wartburgu", metafora "Wartburg" a moţnosti jejího uţití v německých (literárních) dějinách Wagner's "Tannhäuser und der Sängerkrieg auf Wartburg", the metaphor "Wartburg" and the possibilities for its use in German (literary) history
    Author: Urbanec, Miroslav

    Hrad Wartburg v Durynsku je jedním z nejvýznamnějších památníků německé kultury. Jeho jméno je spojeno s dějinami minnesangu stejně jako s historií německé reformace. Ve Wagnerově opeře 'Tannhäuser' se však tento hrad stává především symbolem,... more

     

    Hrad Wartburg v Durynsku je jedním z nejvýznamnějších památníků německé kultury. Jeho jméno je spojeno s dějinami minnesangu stejně jako s historií německé reformace. Ve Wagnerově opeře 'Tannhäuser' se však tento hrad stává především symbolem, metaforou, za níţ se skrývá tradiční německá "Kultura" (tak jak ji definoval např. Thomas Mann ve svých 'Betrachtungen eines Unpolitischen'). Novější německé dějiny znají hned několik epoch, v nichţ hrály hodnoty reprezentované wagnerovským Wartburgem významnou roli – wilhelmovská "Druhá" stejně jako – ještě radikálněji – Hitlerova "Třetí říše". Cílem tohoto příspěvku je objasnit na příkladu německé literatury, jak "wartburské" tyto doby byly a jak reálné je zrcadlo, které Wagner se svým 'Tannhäuserem' nastavil (německému) světu. Wartburg castle in Thuringia is one of the most important sites in German culture. Its name is linked with the history of Minnesang and the German Reformation. In Wagner's opera 'Tannhäuser', however, the castle functions primarily as a symbol, a metaphor, representing traditional German "Culture" (as defined by Thomas Mann in his 'Betrachtungen eines Unpolitischen'). Modern German history included two eras in which the values represented by the Wagnerian Wartburg played a key role: the "Second Reich" of Wilhelm II and the even more radical "Third Reich" of Hitler. This paper discusses, using German literary examples, how 'Wartburgian' these eras were, and how realistic was the mirror held up by Wagner to the (German) world in his 'Tannhäuser'.

     
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    Source: CompaRe
    Language: German
    Media type: Article
    Format: Online
    DDC Categories: 830
    Subjects: Wartburg; Wagner, Richard / Tannhäuser
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    publikationen.ub.uni-frankfurt.de/home/index/help

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    info:eu-repo/semantics/openAccess
  5. Hamlet oder Die lange Wartburg-Nacht nimmt kein Ende : die westdeutsche Literaturlandschaft der Nachkriegs- und frühen Adenauer-Zeit aus der Sicht des Re-Emigranten Alfred Döblin Hamlet or The long night at Wartburg never ends : The literary scene in West Germany in the immediate post-war period and during the first Adenauer years as viewed by the re-emigrant Alfred Döblin
    Author: Urbanec, Miroslav

    The theme of Wagner's opera 'Tannhäuser' is the conflict between the artist and society, between nonconformism and servility to the dictates of a regime, with all its dogmas and taboos. This theme remains real and 'modern' to this day, and it has... more

     

    The theme of Wagner's opera 'Tannhäuser' is the conflict between the artist and society, between nonconformism and servility to the dictates of a regime, with all its dogmas and taboos. This theme remains real and 'modern' to this day, and it has been acted out several times in German history. 'Truth fanatics' – artists, academics and intellectuals – have repeatedly been ostracized, boycotted or mocked. One such figure was Alfred Döblin, nowadays a half-forgotten novelist who returned to post-war Germany after several years of exile to participate in the country's spiritual regeneration. Döblin's novel 'Hamlet oder Die lange Nacht nimmt ein Ende' – begun during the writer's Hollywood exile – can be viewed as a work of 'Trauerarbeit' – a way of dealing with the Nazi past. This paper examines the questions asked by Döblin and the problems he faced in the nascent Federal Republic of Germany, using his 'Hamlet' as a source of illustrative examples. Wagner's 'Tannhäuser' – a work to which Döblin was strongly drawn – serves as a framework.

     
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