Author: Adelbert von Chamisso
Publisher: Createspace Independent Publishing Platform
ISBN: 9781532717567
Category :
Languages : en
Pages : 64

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Peter Schlemihl is the title character of an 1814 novella, Peter Schlemihls wundersame Geschichte (Peter Schlemihl's Miraculous Story), written in German by exiled French aristocrat Adelbert von Chamisso. In the story, Schlemihl sells his shadow to the Devil for a bottomless wallet (the gold sack of Fortunatus), only to find that a man without a shadow is shunned by human societies. The woman he loves rejects him, and he himself becomes involved in guilt. Yet when the devil wants to return his shadow to him in exchange for his soul, Schlemihl, as the friend of God, rejects the proposal and throws away the bottomless wallet besides. He seeks refuge in nature and travels about the world in scientific exploration, with the aid of seven-league boots. When overtaken with sickness, he is reconciled with his fellow men who take care of him, and in regard for his sickness do not look for his shadow. Finally, however, he returns to his studies of nature and finds his deepest satisfaction in communion with nature and his own better self.

Author: Adelbert von Chamisso
Publisher:
ISBN:
Category : German fiction
Languages : en
Pages : 542

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Author: Adelbert von Chamisso
Publisher: BoD – Books on Demand
ISBN: 3368866729
Category : Fiction
Languages : en
Pages : 82

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Reprint of the original, first published in 1845.

Author: Adelbert von Chamisso
Publisher:
ISBN:
Category : Conduct of life
Languages : de
Pages : 340

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Author: Adelbert von Chamisso
Publisher: BoD – Books on Demand
ISBN: 3743172607
Category : Juvenile Fiction
Languages : en
Pages : 0

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Book Description
The famous novella by Adelbert von Chamisso (original in German "Peter Schlemihls wundersame Geschichte") : Peter sells his shadow to the Devil ...

Author:
Publisher:
ISBN:
Category :
Languages : en
Pages : 192

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Author: Daniel Heller-Roazen
Publisher: Princeton University Press
ISBN: 1942130481
Category : Literary Criticism
Languages : en
Pages : 180

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An intellectually adventurous account of the role of nonpersons that explores their depiction in literature and challenges how they are defined in philosophy, law, and anthropology In thirteen interlocking chapters, Absentees explores the role of the missing in human communities, asking an urgent question: How does a person become a nonperson, whether by disappearance, disenfranchisement, or civil, social, or biological death? Only somebody can become a “nobody,” but, as Daniel Heller-Roazen shows, the ways of being a nonperson are as diverse and complex as they are mysterious and unpredictable. Heller-Roazen treats the variously missing persons of the subtitle in three parts: Vanishings, Lessenings, and Survivals. In each section and with multiple transhistorical and transcultural examples, he challenges the categories that define nonpersons in philosophy, ethics, law, and anthropology. Exclusion, infamy, and stigma; mortuary beliefs and customs; children’s games and state censuses; ghosts and “dead souls” illustrate the lives of those lacking or denied full personhood. In the archives of fiction, Heller-Roazen uncovers figurations of the missing—from Helen of Argos in Troy or Egypt to Hawthorne’s Wakefield, Swift’s Captain Gulliver, Kafka’s undead hunter Gracchus, and Chamisso’s long-lived shadowless Peter Schlemihl. Readers of The Enemy of All and No One’s Ways will find a continuation of those books’ intense intellectual adventures, with unexpected questions and arguments arising every step of the way. In a unique voice, Heller-Roazen’s thought and writing capture the intricacies of the all-too-human absent and absented.

Author: Max Stirner
Publisher: Verso Books
ISBN: 1781685193
Category : Philosophy
Languages : en
Pages : 388

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The Ego and His Own, the seminal defence of individualism, coloured the thinking of Friedrich Nietzsche, Max Ernst, Henrik Ibsen and Victor Serge, among many others, some of whom would vigorously deny any such influence in later years. Less reticent was Marcel Duchamp, who described Max Stirner as the philosopher most important to his work. Challenging the religious, philosophical and political constraints on personal freedom, Stirner criticizes all doctrines and beliefs that place the interests of God, the state, humanity or society over those of the individual. Anticipating the later work of nihilists, existentialists, and anarchists, The Ego and His Own upholds personal autonomy against all that might oppose it.

Author:
Publisher:
ISBN:
Category :
Languages : en
Pages : 848

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Author:
Publisher: Scarecrow Press
ISBN: 0810883309
Category : Music
Languages : en
Pages : 427

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Book Description
In Dramaturgical Leaves: Essays about Musical Works for the Stage and Queries about the Stage, Its Composers and Performers, the third volume in Janita R. Hall-Swadley’s The Collected Writings of Franz Liszt, Liszt heralds his admiration for early nineteenth-century opera and musical stage works. He honors Gluck, the musical prophet, as the cultivator of dramatic truth in the Romantic opera Orpheus, expounds on Beethoven’s harmonic inventions and innovative treatment of form in Fidelio, and argues for the latter’s incidental music to Goethe’s Egmont as the epitome of music organicism, a complete unity of words and tone. He also comments on Weber’s Euryanthe as offering the most progressive musical characterizations and declamation—even more so than his popular work Der Freischütz—and on how both works prefigure Wagner’s music dramas; awards Mendelssohn, whose genius Liszt ranks only slightly less than Beethoven’s, top honors for creating in Midsummer’s Night Dream the highest standards of music poetry; suggests how Scribe and Meyerbeer’s Robert the Devil paints a mental image of art’s eternal flames, where poet and musician share equal space in the development of music tragedy; reveals how the poetic deficiencies in the libretto to Schubert’s Alfonso and Estrella are too easily overlooked because of the music’s melodic and lyrical supremacy; and offers in contrast Auber’s Mute from Portici, a remarkable text by many historically picturesque musical motives that are universal and nationalistic at the same time. Finally Liszt offers an early gender study in music in his essay about Bellini’s Montague and Capulet (as well as its impact on nineteenth-century audiences), a look at Boieldieu’s White Lady as a sublime depiction of literary music, and Donizetti’s Favorite as colored with a special type of imagery, a laterna magica, in Liszt’s hand. The beloved soprano Pauline Viardot-Garcia receives special attention in an essay devoted entirely to her, and Liszt proffers a critique of entr’acte music as a pointless tradition that dethrones music and insults the artist and composer by making music a “palate cleanser.” This volume includes a detailed discussion about what it meant to be patronized by Liszt and how his support—financial, literary, and musical—helped shape many a music career. It also offers commentary on how gender in opera was sometimes obscured not only for dramatic interest but also as part of the process of outlining a nation’s identity,as well as a thorough study of Liszt’s concepts of Gestalt theory, the Archetype, and his musical Weltanschauung (his musical "world view"), all revealing his contribution to 19th-century music philosophy as it relates to opera. Finally, a historical review of entr’acte music is presented—how it began and how it developed—to clarify Liszt’s stance against it, making this volume a necessary read for music historians, serious musicians, and music connoisseurs alike.