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  • Early Modern History x

“Zerhaut, zerreißt, zerschmettert!”

Der Bethlehemitische Kindermord – ein interkonfessionelles Bindeglied in den europäischen Künsten

Elena Nendza

der Ratsherr und Dichter Barthold Heinrich Brockes vermag mit seiner deutsch-italienischen Übersetzung das ‘niederländische Gedankengut’ aus dem geistlichen Epos im frühen 18. Jahrhundert der Hansestadt Hamburg richtig freizusetzen. Marinos epische Kindermord-Adaptation avanciert in der europäischen

Lynne Tatlock

translation, and a distant adaptation, namely, Antonio de Eslava’s Noches de Invierno (Pamplona/Barcelona 1609); Matthäus Drummer von Pabenpach’s German translation of it, Noches de Invierno, Winternächt (Vienna 1649); and Johann Beer’s Zendorii a Zendoriis Teutsche Winternächte (Nuremberg 1682). In so

Oehme Annegret

. What might seem like an insignificant difference is in fact of major importance. This change of emphasis alters the entire narrative intention of the text and underscores the adaptation’s dramatic repurposing of the source material. Indeed, it is not simply that the Magelene ends by focusing on a

Sabine Seelbach

Die Hedwigslegende ist in zwei Redaktionen mit jeweils konstantem Text trotz unterschiedlichster Kontexte überliefert. Was als Sakralisierung des Textes wahrgenommen wurde, läßt sich mit dem Instrumentarium einer kulturwissenschaftlich orientierten Philologie weitergehend interpretieren. Der Vergleich der Redaktionen, die Untersuchung der jeweiligen Paratexte, die kodikologischmediale Betrachtung der äußeren Einrichtung und Ausstattung der Handschriften, der Mitüberlieferung sowie der sprachlichen Minimalabweichungen geben Auskunft über adressatenabhängige Veränderungen des Heiligendesigns.

Monika Schneikart

Followers of Martin Opitz like Hudemann, Rist, Köler, Plavius, Schneider and Sibylla Schwarz build their new poetics partly on the influence of Dutch literature. Schwarz’s adaptations of two poems from Daniel Heinsius’ Spiegel van de doorluchtige Vrouwen (1606) range between translatio and aemulatio. A further poem (“Nacht-Klage”) is compared to an adaptation before Opitz by Peter Lauremberg. Beginning in 1634 Schwarz found innovative ways of processing her knowledge of Jacob Cats’ marriage guide book, Houwelyck (1625), in poetic and pragmatic texts, so that the data by Ziefle need to be corrected. These documents of Dutch influence open up new perspectives on north-eastern Pomerania in the 1630s, especially with regard to the history of the book and the history of education.

Ulrike Wels

The article offers a rereading of Sibylla Schwarz’s prose eclogue, Faunus. By describing the circumstances and the development of a young love in detail, Schwarz directs the reader’s attention to the fact, that Christian moral and ethical standards are external, and, therefore, are to be rejected. Instead, she places the ‘anthropological’ dimension in the foreground, the interest in human beings and their emotional motivations. Affective control and adaptation to conventions are less important. In that regard, this short text can be seen as an integral part of a prehistory of ‘literary anthropology,’ which ultimately evolved only in the course of the 18th century, although, as will be shown, its precursors can already be found in the 17th century.

Alfred Noe

The study opens with an outline of the state of research concerning the reception of the Spanish drama at the imperial court of Vienna in the 17th century, the historical connections between the Spanish and the Austrian Habsburgs forming the starting point for a description of Emperor Leopold's I. literary interests as weH as the activities of his ambassador in Spain, Franz Eusebius count pötting. In particular, the Viennese representation of Calderón's Fineza contra fineza (1671) proves its importance by the editio princeps being realised in the imperial capital. The foHowing part of the study offers a chronological analysis of the 15 documented representations of Spanish dramas at the Viennese court. The reader will find short summaries of the identified plays as weH as references to tranlations, adaptations and similarities with contemporary works of imperial court poets.

Elena Tolstichin

Why did Hendrick Goltzius use three Roman Catholic engravings for the design of his Reformed Moses with the Tables of the Law (1583)? This article seeks to answer that question by analyzing the adaptation of the engravings. It shows the artist’s endeavor of creating a Reformed Protestant engraving and legitimizing his art and method through the Scriptures. Furthermore, explanations for Goltzius’s use of his models will be presented, while one of them identifies the reference to a specific engraving as a strategy of artistic subversion.

Der vorliegende Beitrag geht der Frage nach, warum gerade drei katholische Stiche Hendrick Goltzius beim Entwurf der reformierten Druckgrafik Moses mit den Gesetzestafeln (1583) als Vorlagen dienten. Dafür wird zunächst deren Adaption analysiert. Hierbei wird deutlich, dass der Künstler sich um die Gestaltung eines reformierten Stichs bemüht und gleichzeitig seine Technik und Kunst biblisch legitimiert. Anschließend werden Erklärungen für die Verwendung von Vorlagen vorgestellt, darunter eine, die in dem Rekurs auf einen der drei Stiche eine subversive künstlerische Strategie erkennt.