Religiöse Themen in neuer Sicht (Gesamtausgabe Herbert Vollmann 2) (German Edition)

Spiritualism

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Am Samstagabend wurde bekannt, das beide in einem 5er BMW mit Essener Kennzeichen unterwegs sein sollen, den sie einem Ehepaar gestohlen haben, das sie zuvor als Geiseln gehalten hatten. Einen Beruf hat der Herforder nicht gelernt. Doch Michalski war in seinem kriminellen Tun nicht zu stoppen. Zusammen mit seinem Komplizen Thomas K.

Michalski hatte sich an dem Jugendheim mit einem geladenen Karabiner auf die Lauer gelegt. Eine Hand hatte aus dem Erdreich geragt. Als Heckhoff den Wagen inspizieren wollte, wurde er angeschossen. Die Opfer erlitten schwerste Verbrennungen. Menu Skip to content. Autobots - Transformers Sound Effects Demo. Cinematic Impact Sound Effects Demo. Cinematic Tension Sound Effects Demo.

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Instead, in keeping with history, he is the barbarian leader of a coalition of peoples which he has won and subjugated: In order to confer a new meaning and a new effect upon the old narrative, its re-tellers very often do not confine themselves to redefining the characters and to reshaping the structure of the tale; instead, they place the plot into a specific historical frame, extracting from the archive of memory the set which best fits their purpose.

On the contrary, every social, national, cultural or political group, even the most reactionary, may use history — as actually happened with the Nazis — as a catalyst for emotive reactions and identification processes. For this purpose the Nibelungen matter is particularly suitable: This gives modern re-tellers the possibility not only to represent history according to their main interests and intents, but even to create history, manipulating and altering the chain of events and, in some cases, changing the very setting of the dramatic action.

It is impossible, of course, to analyse on this occasion the whole, vast multitude of the Nibelungen rewrites, even if we should confine our discussion to those rewrites which carry out strategies of historicization. His Siegfried and his Brunhild are creatures of the myth: Brunhild, in particular, is alluded to as an offspring of the Norse Gods.

Saga, history and drama: Already at the very beginning of the play, the first stage direction informs us: This reference edition of the drama is now available on-line: As a matter of fact, Ibsen emphasizes the difficulties that the peculiar structure and style of Icelandic sagas pose for a theatrical rewriting; in spite of this, he glimpses the possibility of working on the language to overcome such difficulties. According to Ibsen, it is necessary to add some lyricism to the saga in order to make a drama out of it, but on the other hand, one has to make use of a prose very near to the saga-style to compensate the loss of plasticity that the introduction of lyric elements in the matter involves.

I think it quite likely that, after this theoretical reflection, Ibsen felt tempted to measure himself against the difficult task he had described in his essay. What is quite surprising, however, is that Ibsen picked out a legendary pattern instead of a historical narrative as the main hypotext for his theatrical rewrite. Apparently, he recognized in the Medieval narrative about the Volsungs some motifs — or, rather, a constellation of motifs — which kept on fascinating him for the whole of his life: Ibsen, therefore, took over the Nibelungen legend, manipulated it thoroughly and made a family saga out of it: His heroes and heroines are realistic figures taken from the inventory of the Icelandic sagas: All these characters speak like the heroes of the realistic sagas, in a sober and often laconic, elliptical prose.

Ibsen even inserts some stanzas in the prose of the play, recreating somehow the alternation of prose and poetry typical of so many sagas. This strategy of de-mythicization and, at the same time, of psychological interpretation contrasts the final scene of the drama: On the one hand, we see a strong and unexpected tendency towards historicization of the ancient narrative taking place in the probably least realistic of all literary genres, modern fantasy. On the other hand, in the last decades some German playwrights have taken up the Nibelungen matter and have reshaped it in a paradoxical and grotesque way, using anachronism itself in order to emphasize misery, selfdeception and contradictions in the history of Germany.

Paxson make use of all the devices of the historical novel to outline a broad and accurate description of Germanic life during the late antiquity. Paxson goes so far as to replace the character of Theoderic with his father Thiudimir in order to restore the consistency of chronology violated in the Medieval sources. Furthermore, both writers exhibit a vast knowledge of the civilization of the ancient Germanic peoples and of their religion, and both take pains to add a glossary and some bibliographic references to their books. The myth is thus embedded in history; in fact, it is its hidden face and its invisible motor.

This reconsideration of the mutual relationship between myth and history is not, of course, without purpose. Both Stephan Grundy and Diana L. Paxson are indeed prominent members of the new-heathenism: Stephen Grundy has written a handbook for the practising of Norse religion18 and Diana L. Their novels, therefore, are not merely amazing successions of heroic and bloody deeds, as Sword and Sorcery novels usually are; instead, they aim at spreading knowledge about the old heathen religion of the North, at presenting the gods in action and at supplying a sort of pagan theodicy, explaining and justifying the conduct of the gods and their — temporary — withdrawing from the history of men.

The myth recovers in this way its original function, founding the religious experience of a new, scattered heathen community and giving form to it. The novels are thus, at the same time, effective tools of religious propaganda and guide-books to the 17 Grundy ; Paxson ; Paxson ; Paxson On the new-heathenism see Blain Through tradition against tradition: Both authors underline the strong relationship between Nibelungen matter and history, but they focus their attention on contemporary German history: To this end, they make systematic use of anachronisms and show overtly on stage the metaphorical mechanism in action.

Of capital importance in the play are the figures of Hitler and Stalin, both acting on the stage, as well as the references to Rosa Luxemburg, the Polish revolutionary leader murdered during the Spartakist insurrection whose ideal of an anti-authoritarian socialism disappeared from the communist agenda with her death and the subsequent success of the Leninist model. Rosa Luxemburg appears directly only once in the play, in the very first scene: These consequences are revealed later on, as Kriemhild and Hagen meet on the battlefield: In a conversation with Hans Kaufmann he explains: Das liegt am Anachronismus der heutigen Zeit, nicht an dem Anachronismus des Mittels.

Denn du hast recht: Playing with associations, following the logic of dreams, Volker Braun establishes connections between the legendary past and the conflicts of the present, stressing some points of the old narrative and emphasizing its inherent violence, yet without transporting it into our own time. You are right, indeed: The old patterns can reproduce themselves with any generation, and a radical break with the inherited ideas and behaviours is necessary in order to avoid selfannihilation. Their purpose is rather to dismember the traditional narrative in order to show the vacuity and danger of every exaltation of war, supremacy and glory.

They both disintegrate and revitalize the myth, making out of it a literary instrument able to disconnect traditions and common sense, establishing new connections among visions of the past, analyses of the present, and perspectives on the future. Benjamin, Walter, Gesammelte Schriften, I. Gundarsson, Kveldulf , Teutonic Religion. Paul Minnesota , Llewellyn Publications.

Udgivet af Gerhard Gran]. Studien zu Stoff, Struktur und Rezeption, St. Ernst Hardt und Georg Kaiser Summary. Shortly after , an intense reworking of the Tristan material took place in the field of the dramatic genre in Germany. Beside a presentation of both authors and a survey of the different sources they drew upon, the attention will be devoted to outlining the features of the two Tristan adaptations, showing their common traits and their differences as modern reinterpretations of the original story.

Neben den Hauptwegen gibt es Seitenwege. Hardt wurde , Kaiser geboren. Es existiert eine handschriftliche Fassung von , eine weitere von gedruckt , eine weitere von Vorlage der Ausgabe Trotz der engen zeitlichen Nachbarschaft und eines Abschlusses vor Ausbruch des 1. Weltkriegs sind die zwei Dramen aber denkbar verschieden, ja sie scheinen geradezu diesseits und jenseits einer Epochengrenze zu liegen.

Zitiert nach der Ausgabe Hardt Zur Biographie Kaisers vgl. Eine Vorstellung von dem intendierten Inszenierungsstil gibt die Anweisung unterhalb der Personenliste: Hardt wurde mit dem doppelten Schillerpreis ausgezeichnet, d. Diese Auszeichnung war allerdings auch von heftiger Kritik begleitet. Juni , verarmt und vergessen starb. Weiter wird zu zeigen sein, dass gerade die Entsprechungen schon in der mittelalterlichen Stoffgeschichte angelegt sind. Auch Hardts Drama blickt auf den Liebestod voraus. Da treffen Meldungen von der Ankunft eines Kaufmannsschiffes aus Arundel ein.

Denovalin will Tristan getroffen haben und will Isolde erpressen, sich ihm hinzugeben. Akt um die Mittagszeit im Burghof: Isolde zeigt sich aber nicht willens oder nicht in der Lage, den verkleideten Freund zu erkennen. Akt abends im Schloss: Er agiert offen als Tristan, wird aber als Narr gerade nicht als Tristan erkannt. Der Hund ist nun das Wesen, das seinen Herrn erkennt. Tristan entschwindet mit dem Tier im Morgengrauen, Isolde kommentiert: Aus Tristans Untreue folgt bei Isolde eine gnadenlos starre Unbeweglichkeit. Sie singt zu Beginn ein Lied: Dabei bleibt bis zum Schluss ein paradoxes Bekenntnis zu der verflossenen Liebe bestehen.

Isoldes pathetische Ahnung des Liebesto10 Meyer Auch Tristans Verhalten ist nicht eindeutig: Aus beleidigtem Stolz, aus Trotz? Beide Charaktere wirken weniger befremdlich als das verunsicherte Protagonistenpaar selbst. Dies gegen Wagner und die mittelalterliche Tradition. Eine Demontage des Liebesmythos betreibt auch Georg Kaiser.

Akt an einer Serie von Listepisoden entlang, die aus Traditionskernen heraus frei umgestaltet oder ganz neu erfunden sind. Diese Bemerkung wird in Markes Phantasie zur Bedrohung ihrer Unschuld, sie generiert eine Kette von Folgeszenen, die sich wie ein roter Faden durch das Drama schlingen. Eine Wendung in seiner Versuchsanordnung leitet Kaiser am Ende des 3. Gleichzeitig nimmt er auf diese Weise grausame Rache. Marke selbst setzt sich dem Verdacht des Ehebruchs mit der Magd aus; anderseits entlastet er Tristan, oder — die Liebe zu Isolde vorausgesetzt — er weist ihm einen Betrug der Freundin mit deren Dienerin nach.

Dieser ist von vornherein als solcher allbekannt, und Marke ist sein Verfasser. Er ist derjenige, der mit Hilfe des Liebespaares den Stoff kreiert. Der Stoff mit seiner erotischen Dreiecks- bzw. Gemeinsam ist den beiden Vorkriegsdramen damit auch das Erkenntnisproblem. Beide betonen eine politische Sinnebene.

Weder Wissenschaft noch Parawissenschaft noch Religion kommen den psychischen Verwirrungen auf den Grund. Hardts Isolde fasst ihre verfahrene Lage in dem einleitenden Lied lyrisch zusammen. Fest steht hier nur: Noch ein paarmal spielt Hardt im 1. Akt auf den Wechsel von Kunst in Leben und umgekehrt an. Dann scheint er das Motiv zu vergessen. Es klingt noch einmal in dem Fingerring aus Gold und Smaragd am Ende an, doch hat hier das Kunstobjekt seine Kraft als Erkennungszeichen und verpflichtendes Symbol dramentechnisch gerade verloren.

Isolde ist zornig, da Tristan sie im Kampf zu verleugnen scheint — was aber auf einer Verwechslung beruht. Akt 3, 1, S. Kaiser, Georg , Werke. Meyer, Jochen Hg. Texts and Analysis, 2 Bde. Ernst Hardt Table 2. Georg Kaiser Table 4. This study sets out to re-examine the issue of the making and development of the German lyrical language in the Middle Ages. Its aim is not so much to establish a relation with the Romance tradition, but to look at the multilingual culture that lay beneath the rise and development of the European lyrical tradition.

German lyrical poetry may be said to have resulted from the two entwined phenomena: Throughout the 12th century, European history witnessed major cultural changes, which brought about an elaborate network of culture and languages of very different stocks Romance and Germanic. All of these vernacular cultures were held together by the cultural and linguistic tradition of Medieval Latin, which served to filter and restrain, as well as kindle and spread, a range of ideas and themes later used in the vernacular to mold new literary forms.

The making of courtly lyrical poetry in Europe is one of the outcomes of such interaction. In this study I set out to re-examine the issue of the making and development of the German lyrical language in the Middle Ages. My aim is here not so much to establish a relation with the Romance tradition, but to look at the multilingual culture that lay beneath the rise and development of the European lyrical tradition. Two entwined perspectives may shed light on how the language of German lyrical poetry was formed: And if we approach the written records of German lyrical poetry from such perspectives, i.

Latin-bound bilingualism and the later intertextual ties with Romance languages, we should be able to explain how the convergence and mixture of diverse elements in the German language gave rise to the self-sufficient and creative idiom of poetry, which in turn brought about further blends. Starting with the 12th century, European history went through rapid evolution and intense cultural exchanges: Yet all of these vernacular cultures were held together by one cultural and linguistic tradition: While these ideas and themes belonged mostly to the Classical tradition, they also incorporated Celtic, Germanic and Islamic features.

Before reaching its full creative expression, German lyrical poetry went through several phases that we can outline without arranging them into a definite time sequence: The Latin tradition It should be kept in mind that, long before the courtly tradition, German rose and evolved as a written language under the impulse of Late and Medieval Latin. In a sense, ever since the time of Charlemagne, Latin-German bilingualism in learned prose had paved the way to full linguistic autonomy for written German.

And unlike Romance languages, which had to withstand a long process of emancipation to overcome an uneasy state of diglossia, German was relatively quick to gain independence. As early as the 11th century, we find examples of Latin and German being used together in heroic and eulogistic poetry. Thus, for instance, in Ezzolied and above all in De Heinrico, we come across new language blends accompanied by singing. We also find a new metrical form long lines divided into two assonanced semilines that brackets Latin and vernacular models.

Yet, at the same time, even in early records of lyrical poetry, we encounter instances of Latin-German Sprachmischung [see also Ehrismann The De Heinrico itself belongs to a group of about fifty poetry texts written in Latin but of German origin, the so called Carmina Cantabrigensia, to be found in ff. This corpus is known to consist of several religious and secular compositions on a variety of subjects history, politics, eulogy, satire and didactics which also include seven love poems. Since the Middle Ages, some of these poems had suffered extensive censorial erasures on account of their erotic themes and of the involvement of the monastic milieu.

What matters for our purposes is that poem number 28,2 albeit ridden with stains and erasures that make it hard for us to reconstruct its text, shows signs of a mixed Latin-German language with phrases that anticipate the topoi of later courtly poetry. Strecker entitled this poem Kleriker und Nonne. Other lines bring us to interpret this text as a dialogue: Religious hints in fragments like: The text is fascinating. One can see why a scholar like Dronke could have put forward a hypothetical reconstruction that is certainly rash and yet at times highly plausible and exciting.

Think first of the dialogic structure of the poem, laid out in the predictable sequence of meeting, love entreaty, debate and response. Dona, [a] vos me comand. The Minnesang is also recalled in a few specific features of language. So for example, the …. Similarly, the use of the German long line and the presence of 3 His reconstruction would call for extensive study.

It would in fact pertain to the issue being discussed in this convention: We are left with the impression that portions of text voiced in two different languages are thereby linked successfully together. That the subject of love should be expressed through a clever and subtle language blend is in this case particularly worthy of note. The De Heinrico has long lines with internal assonance or rhymes, with Latin almost always confined to the first semi-line and German to the second.

Given the sharp difference in genre between the two poems the De Henrico is a heroic-political poem we cannot possibly draw a full comparison. This corroborates our guess that the erotic theme - already present in the Latin poem Iam dulcis amica appearing right before this one in the manuscript - may have tapped into another tradition: If we believe in the existence of an oral tradition, we may say that, under the form of mixed language, the combination between the oral register and the learned Medieval Latin poem marks a relevant communicative shift.

The German version of the Strasbourg Oaths signals the time when full and complete autonomy had been reached. To be sure, lyrical poetry addressed a very different audience than the one of judicial prose or religious, epic-heroic, didactic poetry. This audience did not exclude members of religious groups, but it did mainly consist of lay people and women. Its erotic subjectmatter, questioned by Ute Schwab The German sentence appears on the upper margin of f. The two lines, the one in the vernacular and the one in Latin, are here accompanied by almost identical neumic notation but bear no resemblance in content.

I am not going to discuss here the thorny issue of this German interpolation. The link between early German writings on the theme of love and the lyrical language of Medieval Latin is confirmed by another significant, albeit later, document. I am thinking of the so-called Tegernsee letters, a collection written in rhythmical, learned, sophisticated Latin prose Ms. These letters deal extensively with the theme of love, and go over the practical and sentimental implications of a love affair, here apparently transposed in the very different social context of a racy liaison between a teacher and his female pupil.

Two German passages appear in the text. This is also demonstrated by the presence of another passage in rhythmical prose f. This comes as a conclusion to a letter in which the female writer reproaches her friend for having blamed her unfairly: Friunt uolge du miner lere. Ich habete dir wol mere gescriben. Ingeniously, the text uses both languages by intertwining two registers: And this produces varied rhetorical effects: The short pseudo-lyrical poem and the above-mentioned text would call for separate treatment.

But whether forged or authentic, this collection of letters is relevant to our study because it attests to the existence of literary records dealing extensively with love themes and characterized by vernacular interpolations. Also, these records bear witness to an ongoing debate of opinions and feelings in which women are assigned a key role.

All this is evidence of a socio-cultural background that is analogous to the one underlying courtly lyrical poems in Romance languages, where literary use of the vernacular is also established via Latin. The Romance tradition At the outset of the written tradition, interpolations with Latin are also found in the Romance world, in the forms of bilingualism and barbarolexis that affect the vernacular in the challenging course of its independence from the mother tongue.

In the context of liturgy, we may recall the bilingual Alba of Fleury, dating back to the 11th century.

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The Alba is accompanied by neums, and its three Latin stanzas end with a refrain that is made up of a semivernacular couplet interspersed with Latin words, which must indicate that the adoption of a different register was intentional [Lazzerini Modifications of the Romance metrical structure against Latin in this document point to possible Arabic and Andalusian influence, so that we may see here one of the earliest signs of an interaction that is known to have had a momentous — albeit among scholars controversial — impact on the birth of Romance lyrical poetry.

Closer to the purposes of our study is the case of two short stanzas from Ms. Harley mentioned by Bischoff This short text adumbrates widely popular themes of courtly poetry, the complaint of distant lovers and the motif of the falcon, equally widespread in the Medieval Latin tradition, the Arabic tradition and in the first Minnesang. Handwriting and neumic notation are German: Similarly the German model, as far back as Carolingian times, may have encouraged the written use of vernacular French in the context of the judicial-political language exemplified by the Strasbourg Oaths [Molinari b: After all, this is what had happened centuries before to other vernacular genres throughout Europe, but mainly in England and Germany, where Latin had influenced for instance religious and judicial poetry.

These must have been put first into writing by virtue of the distinction that set them apart from frivolous erotic poetry. At the end of the 12th century the Romance influence, which played a vital role as German took on the forms and themes of courtly love poetry initiated in France and in Provence, was probably exerted over a language and a genre that were already well established and independent.

And, rather than in the exact imitation of contents and forms, the very first outcome of this familiarity and appreciation for Romance love poetry rested probably in the strengthening of a genre that had already gained its autonomy. It voices themes that touch upon a variety of amorous and erotic contexts, all sharing the same degree of elaboration in sentences that tell both of the joys and of the sorrows of loving.

Subsequent German lyricists will, instead, turn to a much richer and thorough range of words to express feelings of sorrow than to express those of joy [Molinari His work most likely originates from a lyrical language that had already been established in Germany on the basis of a rich Medieval Latin tradition. This tradition was widespread in Europe and underlay both the German and the Romance conventions — the latter in the poetical forms not only of Provence, but also of Northern France and Spain.

In fact, as far as the assimilation of Romance models is concerned, in the case of Meinloh we should talk about a period of transition. And he uses this new verse form in nine out of the twelve stanzas ascribed to him in manuscripts B and C. Interestingly, partial technical novelty is accompanied by only a limited stereotyping of themes, adapted to the courtly milieu: A realistic description of the love affair persists and prevails. Dietmar von Eist seems to follow the same pattern. Within the corpus ascribed to him tradition and innovation coexist, both in the choice of meter and rhyme and in the selection of contents, so much so that a few critics have been led to question the attribution of all the Dietmar stanzas in the manuscript to one poet only.

The Budapest manuscript Bu was discovered about twenty years ago and dated back to years between and In fact, within the limited corpus ascribed to Regensburg and named Rietenburg in C and B Bu records versions that are closer to older metrical forms: We have no evidence as to the history behind the names of the two poets. And we cannot conclusively establish whether we are coping with two separate persons or simply two names indicating the same person. Instead, the tradition that appears in Bu under the name of Regenburg marks the borderline zone between the German tradition of long-line forms, preserved in part in the first two stanzas, and the Romance song form of the stanzas that follow.

Even from the point of view of content, the first two stanzas differ from the others: On the other hand, the great lyrical collections - namely the prestigious Codex Manesse - may well have exerted a strong normalizing influence on the Minnesang tradition, especially as far as meter and rhymes were concerned. And normalization may have been allowed precisely by the absence of musical notations.

To be sure, documentation before the 14th century was still largely sporadic, anonymous and thus closer to the practice of singing or acting. Throughout the 13th century then, the writing or copying of love lyrics was still carried out mainly by clerics. It was, at any rate, a trend that the German lyrical tradition could not have taken in, had not its language already reached a significant degree of development and sophistication. It must have taken place above all in live performances and the first-person listening of the songs spread by troubadours themselves as they moved from court to court in various European countries.

That is the way new melodies, and thus new metrical and rhythmical schemes, were diffused. And that once again called for a state of bilingualism, or even of multilingualism, whose outcomes were bound to differ from the ones of the previous century. For such forms of lexical expansion pointed to cultural inequality and exposed a state of dependency from another language.

The fact that German lyrical poetry had already gained its own distinctive autonomy of language enabled prominent writers to experiment with Romance metrics. Further developments The practice of multilingualism be it Latin-German or French-German resurfaced among poets of the late 13th century under the guise of a rhetorical technique. This time multilingualism was not intended to sustain a language yet incapable of self-sufficient expression, as in the older Latin-German phase.

It was rather a linguistic tool meant to voice fresh subject-matters. As critics have invariably claimed, it was the Latin lyrical poems that took on the German ones as models. This hypothesis is substantiated by the presence of stanzas by well-known poets also found in other manuscripts. But in a few cases we are inclined to postulate a more complex kind of interaction, involving translation from Latin into German.

We may conclude with one more instance, still dating back to the late 13th century, where German lyrical poetry may be said to have initiated another poetic tradition: I am thinking of the rise of the Sicilian school. Inside this court, one of the most linguistically and culturally vibrant communities in Medieval Europe, we come full circle, and glimpse an original network of intertextual and multilingual themes. Die lateinischen Liebes- und Freundschafts- Briefe des clm. Atti Accademia Peloritana dei Pericolanti.

Classe di Lettere Filosofia e Belle Arti. Linguistica e Filologia Lo Monaco, Francesco ed. Strecker, Karl ed. Touber, Anton ed. In such a way the poet can effectively lead the audience towards a reflection on the sense of the missions overseas in the first half of the 13th century and the formation of a critical stance.

Indeed, this poem is highly problematic, for without doubt it contains many ambiguities and unexpected elements that bewilder the contemporary reader. A possible key to our understanding of the poem may be provided by a comparison with the Elegy by Walther von der Vogelweide. A few connections between the two texts have already been made by a number of scholars. For the most part however, it has been argued that such affinities are, at most, marginal or may simply be due to the fact that both poets are dealing with a very common set of themes. Before answering these questions, it is perhaps necessary to present the content of the poem and, in doing so, to touch upon some crucial matters.

It opens with a description of the pleasures of those knights who find themselves in Apulia and go hunting, riding, or walking with lovely women. The reason for this exclusion is found in the last hemistich l. In the second strophe the narrator speaks of his difficult life in general: This is the most problematic part of the whole poem, for it contains several lines that have given rise to critical controversy, a point we shall discuss later on. The third strophe describes the dangers of this voyage: It should be observed that whereas the description of a storm is normally found in epic, it is a new element in a lyric poem.

In the following strophe the emphasis is on the hardships suffered on board: In the last strophe the contrast is once again drawn between the pleasant life of the man who lives on land, who can ride wherever he likes, and the hard life of the man at sea, who must wait for favourable winds. The speaker subsequently lists the names of the 12 winds and concludes by saying that he would not have learnt them if he had remained ashore. Finally, we are informed of the reason for this voyage l. However, if we compare it to other poems which treat essentially the same subject more or less directly , we cannot help but notice that this is a highly unusual text.

In these poems, belonging to the late 12th century,5 themes dealing with crusades and love usually occur together. The principal focus is on the ethical dilemma of the Christian knight, torn between service to his lady and service to God, as we can see in these lines by Friedrich von Hausen: We are only aware of crusade songs in Middle High German just before the third crusade led by Frederick Barbarossa They must undertake the journey overseas, and for the sake of God they must offer the very life they have received as a gift from Him: By the early 13th century, the attitude towards crusades has changed significantly.

Of course, some poets are still deeply concerned about the need for new enterprises, which are seen as an opportunity to expiate their sins and to attain eternal reward. As we shall see, Walther von der Vogelweide is one of the foremost representatives of those poets who idealistically praise the crusading spirit. Freidank, for example, is a poet and a crusader who gives us extraordinary evidence of the difficult situation he has personally witnessed in the Holy Land. He also informs us of the general indignation towards the hostility of the clergy and the irresponsible decisions of the Patriarch of Jerusalem, who deprived the crusade of its salvific function by placing the Holy City under interdict: Die Klassiker auf Hoodoo Records.

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Von der Piazza in den Konzertsaal: Die italienische Dorfkapelle, La Banda, feiert Renaissance. Ausgezeichnet mit dem Diapason d'or. Preis der Deutschen Schallplattenkritik. Dzansever wurde mit ihrem arabesken Stil zu einem Star im Vorderen Orient. La Macanita hat eine impulsive und ausdrucksvolle Flamenco-Stimme. Choc du Monde de la Musique. Township Jive, hier u. Aus Sambia zentralafrikanische Tanzmusik.

Bei dem Wettstreit treten bis zu Bands gegeneinander an. Da steckt Pfeffer, Sanftheit und Sex drin Rocktimes. Hold my hand, Miracle, That's just the way it is, I'm coming home u. Mit Simon Slowik, F. Limitierte Erstauflage im Digipack. Sie ist Soul, sie ist Blues, sie ist Rock, sie ist Leben Digital restaurierte Originalaufnahmen CD 4, Naidoo, White roses for my mother u. Mit Johnny Griffi n u.

Adegoke Keshinro

CD 4,99 Nummer Jobim, A. Mit Miles Davis, Tony Scott u. Digital restaurierte Originalaufnahmen seitiges Booklet. Rhythmus der Freude, Leopold tu doch nicht so, Du du dudel du du, Fifi u. Swing - Zwischen Inspiration und Imitation. Je CD-Set nur 19, Eddie Condon - Bixieland.

Eddie Condon - Jam Session coastto-coast.

ATTI 1 - Lear - Ca' Foscari

Jimmy Giuffre - Jimmy Giuffre. Jimmy Giuffre - Tangents in Jazz. Woody Herman - Road Band! Cool - Cats vs. Oscar Peterson - Keyboard. Jack Teagarden - Meet me where they play the Blues. Herb Geller Quartet - The Gellers. Quincy Jones - Stockholm sweetnin'. Pete Rugolo and His Orchestra - Adventures in rhythm. Flip Phillips - Swinging with Flip. Stan Getz - West Coast Jazz. Illinois Jacquet - And His Orchestra. Sie haben ihn gefunden! Nur 5,99 pro CD. Die Jazzmusiker der Szene haben Homers Botschaft verstanden.

Sie haben Frankfurt zu einem Gravitationszentrum des Jazz wachsen lassen. Next flight home, Panama u. Don't explain, Prevolcano days u. The Sesjun Radio Shows. Obskure, illegale Kassetten tauchten ab und an auf dem Markt auf. Jetzt gibt es die Mitschnitte erstmals auf CD. There will never be another you, I'm old fashioned, My foolish heart, Love for sale, Shifting down u. Cooler lassen sich Krach und Kantilenen nicht kombinieren. Rinaldo, Xerxes, Giulio Cesare, Alcina.

Die Musiker haben sich auf Sufi -Musik spezialisiert. Eine der besten jungen lyrischen Soprane unserer Zeit" Musicweb International.

Mit Sandrine Piau, M. Mit James Gilchrist, Mona Julsrud u. Aufnahmen Foto Felix Broede. Rondo nergisch, warm, klar Die Zeit: Eine Modellinterpretation des Werks" Applaus. Eine Klassik Radio Empfehlung. Los Angeles Guitar Quartet. Aus dem Herzen der Klassik: Die Preise aus dem Hause Zweitausendeins. CD 6,99 Nummer Mozart, W.

Mit Edith Mathis, Peter Schreier u. Barocke Kostbarkeiten, CD 7: Romanze - Kostbarkeiten der Klassik, CD 9: Piano dreams - Die beliebtesten Melodien, CD Werke von Schumann, Liszt, Debussy, Bach u. Neue Aufnahmen Ab 8, Das macht sie so erfolgreich. Nicht zu vergessen die audiophile Aufnahmetechnik" BR.

Kirmes und Drama in einem, das fi ndet man selten. Hier gibt es das, nicht zuletzt auch deswegen, weil Poulenc sich um die Errungenschaften der Moderne einen Doibel scherte" Rondo. Ein Querschnitt von Wagners Ring auf zwei Orgeln. Oehms Classics CD 13,99 Nummer und jetzt alle: Eine einzigartige Sammlung SWR.

Zum Selbersingen und vom Feinsten! Karlowicz "Violinkonzert A-Dur op. Alte Musik aus dem jungen Hause Raum Klang. Rondo entdeckte musikalische Kleinode. Je CD nur 11, Das Damen- Trio spielt hellwach, farbig, klangsensibel und beweglich" BR. Jahrhundert in zahlreichen Texten ihren Niederschlag, in denen sich christliche und heidnische Vorstellungen mischten. Werke von Ockeghem, Busnoys, Dufay, Ghizeghem u. Alles schwelgt in einer herbstlichen Selbstvergessenheit, der man sich nur schwer entziehen kann" Fono Forum. Werke von Boxberg, Pezelius, Krieger, Hammerschmidt u.

Mit Nicki Kennedy, Hannah Morrison u. Und wie so oft bei den Ioculatores ist auch dieses Programm bis ins letzte Detail durchdacht" Kreuzer. Ensemble Alte Musik w w w. Sehr fein arrangiert" Concerto. Mit sparsam eingesetzter Agogik und minimalen dynamischen Schattierungen erweckt er die Tabulatoren zum Leben. Eine lohnende Entdeckung" Concerto. Das anspruchsvolle und gut zusammengestellte Programm zeigt sich auch im informativen und anspruchsvoll gestalteten Booklet" Klassik.

Ioculatores, Ars Choralis Coeln, Amarcord. Kurier Bernarda Fink, Mezzosopran. Da werde ich weich! Der Salonstil dieser Duette und Soli erinnern stark an Tschaikowsky. Marion Koell Agentur Quintessenz. Irma Issakadzes Bach- Einspielungen. So hat schon lange niemand mehr Bach gespielt. Doch Goulds intellektuelle Triumphe sind hier menschlich sublimiert, mit Seelenenergie und Glaubensinhalten angereichert" Stereoplay. Liszt gilt als einer ihrer wichtigsten Erneuerer Der Schallplattenmann.

Bach, Mozart, Rodrigo, Telemann, Vivaldi u. Die Instrumente der Klassik. Je Doppel-CD nur Frank, Otmar Suitner, Siegfried Kurz. Staatskapelle Dresden, Kammerorchester C. Edward Power Biggs, J. Die optimale Kunst des Zusammenspiels. Ihre Interpretation der Violinsonaten ist ein genau gewichtender, bewusst gestalteter Prozess, bei dem sich Intellekt und Emotion in einem subtilen Gleichgewicht befinden.

Einmal zugespitzt, dann wieder wie traumversunken. Bei Ravel lassen sie die Farben duften, den Mittelsatz in raffiniert gesteigerter Blues-Manier 'swingen'. Liegen von einem Werk mehrere Versionen vor z. Mit seitigem Booklet mit allen Liedertexten. Erweitert wurde die Edition durch Probenausschnitte und Interviews. Feine Klassik, kleine Preise. Die Label-Philosophie absolut hochwertige Einspielungen zu absolut tiefsten Preisen ist extrem Zweitausendeins-kompatibel.

Die neuen CDs von Brilliant Classics: CD 4,99 Nummer Bach, J. Mit Musik von Robert Schumann. Commissario Montalbanos erster Fall. Gelesen von Andreas Muthesius. Empfohlen ab 8 Jahren. Gelesen von Stephan Benson. Gelesen von Anke Reitzenstein. Teil der Fantasylegende: Gelesen von Muriel Baumeister. Sein Wissen und seine Macht. Gelesen von Sascha Rotermund. Gelesen von Eva Mattes. Begleitet vom Berliner Filmorchester und Kammerchor. Auf MP3-CDs ab 3, Gesprochen von Will Quadfl ieg. Gesprochen von Roberto Gaspard.

Jean Reno, der Kassenmagnet aus Frankreich. Seine Edition finden Sie auf Seite D in Originalfassung nicht ausblendbar. Das Special Effects Team, Filmdokumentation u. Vorgestellt von Sir Simon Rattle. Mit Anthony Quinn, Alan Bates u. Mit Mario Adorf, Hannelore Elsner u. Musik von Philip Glass. Mit Marcello Mastroianni, Anna Magnani u. Mit Paul Newman, Eva Saint u.

Am Abend konnte er es kaum erwarten, ins Bett zu gehen. Freunde und Vertraute hatte er nicht. Drei Filme von Federico Fellini. Drama mit Giulietta Masina, Anthony Quinn u. Ausgezeichnet mit einer Oscarnominierung. Und allen anderen sowieso. City Of Birmingham Symphony Orch. Statt einzeln 69,93 zusammen nur 64, Es sollte nur ein Konzert werden. D Dokumentation von Alexander Gentelev. Ausgezeichnet mit drei Oscars. GR Drama mit A. Quinn, Alan Bates, Irene Papas u.

Das Meisterwerk der Nouvelle Vague. Eine elegante Gesellschaftssatire" Die Zeit. Bundesfilmpreis, Oscar-Nominierung und Golden Globe. Ausgezeichnet mit einem Oscar und dem Film Critics' Award. Ausgezeichnet mit einem Oscar und drei Oscar-Nominierungen. Ausgezeichnet mit einem Oscar Bester Nebendarsteller: Aufwendig ausgestattet, brillant in der Choreografi e" Lexikon des Internationalen Films. Ausgezeichnet mit vier Oscar-Nominierungen und drei Oscars. Fantasy- und Actionfilm mit Kultstatus.

Ein Meilenstein des politischen Kinos" Cinema. J "Kino in Vollendung" Die Zeit. Ausgezeichnet mit der Goldenen Palme. Musik von Maurice Jarre und Paul Anka. Ausgezeichnet mit zwei Oscars. Eine wahre Geschichte" Cinefacts.

F Kriegsdrama mit Philippe Noiret, K. Marc Lacroix mittels einer Maschine in sein Gehirn vordringt Der Jazz, die Stadt, die Liebe, der Blues: Er ist so, wie wir heute alle sind: Cassel, Michel Bouquet u. Daneben liegt das Feuerzeug, das sie ihrem Geliebten Popaul geschenkt hatte. Ausgezeichnet mit zehn Oscars. Jerome Robbins, Robert Wise. Einer der besten Filme seiner Zunft" Online-Filmdatenbank.

Cassel, Henri Garcin, Michel Vitold u. Gilt als der "erste theologische Thriller" Cinema. Ausgezeichnet mit vier Oscars. DVD 7,99 Nummer Zweitausendeins wird nostalgisch: Filmerlebnisse mit hohem Erinnerungswert. Delbert Mann, Alfred Hitchcock. Michel Boisrond, Roger Vadim. Howard Hawks, Anthony Harvey. Stanley Donen, Raoul Walsh. Alfred Hitchcock, Stanley Donen. Blake Edwards, Guy Hamilton. Zwei Sklavin des Herzens: Ingrid Bergman mit Michael Wilding.

Anthony Mann, Gottfried Reinhardt. Edward Ludwig, John Ford. Mark Sandrich, George Stevens. Henry Koster, Fred Zinneman Spr.: Wir machen ihn komplett. Doch der Schuss ging nach hinten los. Ausgezeichnet mit dem Preis der deutschen Filmkritik. Kritikerpreis bei den Internationalen Filmfestspielen in Cannes. Trotta, Matthias Habich u. D Drama mit R. Fassbinder, Peter Chatel, Kurt Raab u.

Ein fi lmisches Gesamtkunstwerk. Dieses Bild ist archetypisch geworden, es hat sich tief ins kollektive Ge- Dann lernt sie Chris kennen. Ausgezeichnet mit der Internationalen Filmkritik, Cannes. Fred Zinnemann, Josef v. Blech, Heinz Hoenig u. Ausgezeichnet mit der Goldenen Palme, Cannes. Fassbinder, Wim Wenders, Margarethe v. Trotta, Percy Adlon, Hans W. Ausgezeichnet mit dem Filmband in Gold Beste Regie. Packende Verfilmung der gleichnamigen Novelle von Stefan Zweig. D Drama mit Bruno S. Holmer-Karell, Ulrika Bergman u.

Winjevoll, Harriett Andersson, B. Eine facettenreiche Doku Wer kein Herz aus Stein hat, dem geht das nahe. Vor Gibraltar leben mehr Walarten auf engstem Raum als irgendwo sonst. Die Wale werden gerammt, geraten in Schiffsschrauben Y Woodstock Festival II. In a mellow tone, Sophisticated lady u. I shot the sheriff, Lay down Sally, Wonderful tonight u. Back seat Betty, Aida, Ife, Fat time u.

I shall be released, Mi corazon, I got the Blues u. Love buzz, Smells like spirit u. Flaming, Let there be more light, Point me at the sky, Atom heart mother u. On the road again, Please Mr. Nixon, Worried life Blues, Funky, Let's work together u. Plus 6 Bonustracks Min. Plus 4 Bonustracks vom Montreux-Auftritt Min. The long passage, C. Plus 7 Bonustracks vom Montreux-Konzert Min. Louis Blues, I get a crush on you u. Plus 4 Bonustracks Min. Plus 5 Live-Bonustracks aus dem Jahr I've got my mojo working, Okie dokie stomp, Watch your step, Stormy Monday u.

Coro Lirico Marchigiano "V. Mit Roger Daltrey, John Stratford, Patricia Routledge u. Ballett in 3 Akten. Bolshoi Theater Moskau Spr.: Helikon Oper Moskau Spr.: Schlosstheater Neues Palais Potsdam Spr.: Mit Nicolai Ghiaurov, Vladimir Atlantov u. Ballett in 2 Akten. Mit Irek Mukhamedov, Natalya Bessmertnova u. Bolschoi Theater Moskau Spr.: Gerd Haffmans, Till Tolkemitt. Copyright by Zweitausendeins. Das Merkheft ist auf chlorfrei gebleichtem Papier gedruckt. Der Anwalt hat das Wort: Die Steuernummer lautet St. Unsere Preise sind Endpreise. Sie enthalten die gesetzliche Mehrwertsteuer.

Von uns veranlasste Teil- oder Nachsendungen sind versandkostenfrei. Wir nehmen Ihre Bestellung an, solange der Vorrat reicht. Der Vertrag zwischen Ihnen und uns kommt durch die Annahme unsererseits zustande. Dies kann auch durch die Zusendung der Ware geschehen. KG, Postfach , Hamburg. Bei fehlgeschlagener Fehlerbeseitigung bzw. Eine bestimmte Widerrufsform ist nicht erforderlich.

Den Widerruf selbst richten Sie bitte an diese Adresse: Zweitausendeins, Postfach, D Frankfurt am Main. Unsere AGB finden Sie auch hier: Nummer Karikaturen aus dem Kreml: Schweinefuchs und das Schwert der Revolution. Dass es bei den Parteisitzungen auch anders zuging, zeigt ein sensationeller Fund aus dem Russischen Staatsarchiv: Statt 24,90 nur 6, Die Finanzen des Vatikan. Deckt vieles auf, was man bisher nicht wusste. Das geheime Leben unseres Planeten. Die driftenden Kontinente der Erde steuern auf eine Kollision zu: In etwa Millionen Jahren werden die Landmassen unseres Planeten zu einem einzigen gigantischen Superkontinent verschmelzen.

Nummer Die Tyrannei der Liebe. Man kann seine Kinder nie genug lieben, da sind wir uns einig. Erziehungsratgeber von Caroline Thompson.

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