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To the medievalist, Tannhauser is the author of ironical and highly original lyrical verse; to the folklorist, the subject of one of Germany's oldest ballads; to the musicologist, the composer of the only extant music for a Tanzleich and the hero of several operas. J. W. Thomas examines the content and style of Tannhauser's verse, discusses his sources and his influence on other medieval poets, and gives a history of the ballad material in which he appears. Also included is a diplomatic edition of Tannhauser's poems, both verse translations of the poems and a version of the ballad, and an extensive bibliography.
A Knight at the Opera examines the remarkable and unknown role that the medieval legend (and Wagner opera) Tannh user played in Jewish cultural life in the nineteenth and early twentieth centuries. The book analyzes how three of the greatest Jewish thinkers of that era, Heinrich Heine, Theodor Herzl, and I. L. Peretz, used this central myth of Germany to strengthen Jewish culture and to attack anti-Semitism. Readers will see how Tannh user evolves from a medieval knight to Peretz's pious Jewish scholar in the Land of Israel. The book also discusses how the founder of Zionism, Theodor Herzl, was so inspired by Wagner's opera that he wrote The Jewish State while attending performances of it. A Knight at the Opera uses Tannh user as a way to examine the changing relationship between Jews and the broader world during the advent of the modern era, and to question if any art, even that of a prominent anti-Semite, should be considered taboo.
What can explain Wagner's obsession with Tannhaeuser, which he first conceived in 1845 and still considered unfinished at his death in 1883? Describing of the struggle of a man torn between erotic love and spiritual fulfilment, the opera contains the kernels of all his later works: man's need for love and artistic satisfaction, his desire for an existence beyond death, the operation of memory and the nature of madness. The essays in this volume examine the legends which Wagner chose to weave into his text, while Carolyn Abbate also considers the effect of his many revisions upon the score, pointing out that the initial idea already involved a contrast of musical language to focus the conflict.Contents: 'Tannhaeuser' - an Obsession, Mike Ashman; Tanhusere, Danheueser and Tannhaeuser, Stewart Spencer; Wagner's Most Medieval Opera, Timothy McFarland; Orpheus and the Underworld: The Music of Wagner's 'Tannhaeuser', Carolyn Abbate; Tannhaeuser: Poem by Richard Wagner; Tannhaeuser: English translation by Rodney Blumer
Wilhelm Richard Wagner (1813-1883) was a German composer, conductor, music theorist, and essayist, primarily known for his operas (later called music dramas). Wagner s musical style is often considered the epitome of classical music s Romantic period, due to its unprecedented exploration of emotional expression. He transformed musical thought through his idea of Gesamtkunstwerk (total artwork), the synthesis of all the poetic, visual, musical and dramatic arts, epitomized by his monumental four-opera cycle The Ring of the Niebelung (1876). Wagner even went so far as to build his own opera-house to try to stage these works as he had imagined them. His literary friendship with Franz Liszt led to a long-lived correspondence later compiled in the two volumes of Corrrespondence of Wagner and Liszt (1889); a book that was attributed to both musicians. Among his other famous works are Tristan and Isolde, which broke important new musical ground, My Life (in two volumes) (1880), and The Flying Dutchman.
A sport and a military exercise, hunting involved aggressive action with weapons and dogs, and pursuit to the point of combat and killing, for the sake of recreation, food or conquest. The Stag of Love explores the body of erotic metaphor that developed from the hunt together with Ovid's flourishing legacies. While representing a range of human experience, the metaphor finds its dominant expression in the literature of love. As Marcelle Thiébaux demonstrates, the hunt's disciplined violence represented sexual desire, along with strategies and arts for getting love, the joys of love, and love's elevating mystique. The genre gave rise to a lavish imagery of footprints and tracking, arrows, nets, dogs and leashes, wounds, dismemberment and blood, that persisted to Shakespeare's day.Thiébaux opens with an account of a medieval chase and its ceremonies. She introduces hunt manuals that defined and gentrified the sport, in stages from the party's departure to the ferocity of the struggle to the animal's death. These stages adapted readily to narrative structures in the love chase, showing pursuit, confrontation with the beloved, and consummation. In English literature Thiébaux considers Beowulf, Aefric's Life of St. Eustace, Sir Gawain and the Green Knight, and Chaucer. She discusses Aucassin and Nicolete, Chrétien de Troyes' Erec, Gottfried von Strassburg's Tristan, the Nibelungenlied, and Wolfram von Eschenbach's works. The study ends with a scrutiny of newly recovered or little-known narratives of the thirteenth, fourteenth and fifteenth centuries. Originally published in 1974 and now issued in paperback for the first time, The Stag of Love brings to life a theme of perennial interest to medievalists, and to all readers intrigued by the imaginative treatment of love in the Western world.
To the medievalist, Tannhauser is the author of ironical and highly original lyrical verse; to the folklorist, the subject of one of Germany's oldest ballads; to the musicologist, the composer of the only extant music for a Tanzleich and the hero of several operas. J. W. Thomas examines the content and style of Tannhauser's verse, discusses his sources and his influence on other medieval poets, and gives a history of the ballad material in which he appears. Also included is a diplomatic edition of Tannhauser's poems, both verse translations of the poems and a version of the ballad, and an extensive bibliography.
From emperors and queens to artists and world travelers, from popes and scholars to saints and heretics, Key Figures in Medieval Europe brings together in one volume the most important people who lived in medieval Europe between 500 and 1500. Gathered from the biographical entries from the on-going series, the Routledge Encyclopedias of the Middle Ages, these A-Z biographical entries discuss the lives of over 575 individuals who have had a historical impact in such areas as politics, religion, or the arts. Individuals from places such as medieval England, France, Germany, Iberia, Italy, and Scandinavia are included as well as those from the Jewish and Islamic worlds. A thematic outline is included that lists people not only by categories, but also by regions. For a full list of entries, contributors, and more, visit the Routledge Encyclopedias of the Middle Ages website.