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It draws on literary, drama, and performance theory in an effort to expose dramaturgical aspects of adaptation. This site uses cookies , tags, and tracking settings to store information that help give you the very best browsing experience.

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Abstract Since the beginning of the Shakespeare reception in German in the mid-eighteenth century, the original works of the great British dramatist were not only linguistically transferred into another language but also formally transformed according to the needs of the audience of the time. Brill Rodopi Online Publication Date: Nein, der Boden ist nur ein gleicher, der Boden ist der des lebendigen Schaffens des Vollmenschen.

Man verleumdet Anthroposophie, wenn man ihr sektiererische Bestrebungen zuschreibt, die sie durchaus nicht bilden will. Dadurch ist man in seiner inneren Seelenverfassung unbefriedigt geworden. Und das ist dasjenige, dem sich die Menschen jetzt am meisten widersetzen.

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  6. sinnliches Vergnügen translation English | German dictionary | Reverso!

Deshalb sagte ich, um anzudeuten, worauf es ankommt: Wenn man das Denken an einen Gegenstand wendet, so will man von dem Gegenstand gefesselt sein; man denkt so lange daran, als einen der Gegenstand fesselt. Das ist es, worauf es ankommt: Daher ist es ungeheuer charakteristisch, wenn hier gesagt wird: Dazu sagt der betreffende Verfasser: Da kann man niemals mit solcher Gesinnung herankommen an dasjenige, was Geistesforschung wirklich bringen kann.

Da wird er auch sagen: Arranged into ariosos, arias, duets, and with introductory or linking texts ideal for recitative, Brockes evidently wished to encourage musical settings of his poetry.

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  6. Reception, Translation Theory, and Cultural Transfer.

The publication was popular, and successively revised and expanded. Brockes, who presumably shared some Pietist leanings with Handel while a student at Halle, argues in these poems that the abundant goodness of God is evident in the joy and beauty of His creation. Like any practical professional musician of the eighteenth century, Handel did not compose for his own amusement or because the muses had struck particularly powerfully that afternoon.

Reception, Translation Theory, and Cultural Transfer

As far as we know, Handel had not revisited the city since the beginnings of his operatic career there two decades earlier, but the production of his Passion setting in about and three relationships with friends of his youth Brockes, Mattheson, and also Telemann raise several possible hypotheses about why and for whom Handel undertook his work. However, because Herr Hendel, the world-famous virtuoso, has set them to music in a very special way, the author has thought it a good idea to bring them all together, with newly written recitatives, in three cantatas.

It is unlikely that the arias were conceived as a single project in the manner of a Schubert song-cycle, and an examination of the paper-types used in the manuscript reveals that the arias were probably composed in three batches between and The use of a flute accompaniment was a practical expediency for the Brockes family on a boat, but it does not reflect how Handel envisaged his music would be performed under ideal circumstances. All nine arias are a mellifluous compound of articulate Italianate musical style with German contemplative rhetorical enquiry.

The beginning sections, repeated at the end of each aria, present an observation of natural beauty.