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1
Kovács, Krisztián. "Christ lag in Todesbanden. Egy korál útja a középkortól Luther Mártonon át Johann Sebastian Bachig." Studia Universitatis Babeș-Bolyai Theologia Reformata Transylvanica 66, no. 1 (June 30, 2021): 163–88. http://dx.doi.org/10.24193/subbtref.66.1.09.
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"Christ lag in Todesbanden (Christ Lay in the Bonds of Death). A Chorale’s Journey from the Middle Ages through Martin Luther to Johann Sebastian Bach. One of the focal points of Martin Luther’s work as a reformer can still be discovered in his compositions. He wrote several lyrics in which he formulated essential dogmatic insights. These include the Easter song Christ lag in Todesbanden [Christ Lay in the Bonds of Death] based on the mediaeval Gregorian chant Victimae paschali laudes and its later version Christ ist erstanden, in which not only the joy over Easter and the resurrection of Christ can be found, but it also gives a picture of the reformer’s theological insights into the death of death and sin. After nearly two hundred years, Johann Sebastian Bach processes all seven verses of Luther’s song in his cantata of the same title (BWV 4), shortly after the death of his first wife. The Lutheran hymn of the resurrection will thus become a personal creed, an ars poetica, but at the same time we can find an exciting musical representation of Luther’s theological view of death in Bach’s composition. Keywords: Martin Luther, Johann Sebastian Bach, Protestant choir, death, resurrection "
2
Kaiser, Rainer. "Johann Sebastian Bach als Schüler einer "deutschen Schule" in Eisenach?" Bach-Jahrbuch 80 (February 8, 2018): 177–84. http://dx.doi.org/10.13141/bjb.v19941169.
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Der Beitrag beleuchtet das Eisenacher Schulwesen zu Bachs Jugendzeit und geht dabei der Frage nach, wo Bach sein erforderliches Vorwissen für den ab 1693 belegten Besuch der Lateinschule erhalten haben könnte.
Vergleiche auch: Martin Petzoldt: "Ut probus & doctus reddar." Zum Anteil der Theologie bei der Schulausbildung Johann Sebastian Bachs in Eisenach, Ohrdruf und Lüneburg. BJ 1985, S. 7-42
Hans-Joachim Schulze: Johann Christoph Bach (1671 bis 1721), "Organist und Schul Collega in Ohrdruf", Johann Sebastian Bachs erster Lehrer. BJ 1985, S. 55-81
3
Steiger, Johann Anselm. "Der Prophet Jona bei Martin Luther und dem Hamburger Hauptpastor Johann Balthasar Schupp (1610–1661)." Schütz-Jahrbuch 30 (July 20, 2017): 7–31. http://dx.doi.org/10.13141/sjb.v2008570.
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Wollny, Peter. "Über die Hintergründe von Johann Sebastian Bachs Bewerbung in Arnstadt." Bach-Jahrbuch 91 (March 9, 2018): 83–94. http://dx.doi.org/10.13141/bjb.v20051761.
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Ein im Anhang auszugsweise wiedergegebener Brief von Ludwig Martin Herthum, Bewerber um das Organistenamt an der Arnstädter Oberkirche 1710, steht im Mittelpunkt des Artikels. Der Schreiber wendet sich an Graf Anton Günther von Schwarzburg und bekräftigt seinen Wunsch nach Erhalt der der vakanten Stelle, wobei er zahlreiche singuläre Mitteilungen über die verschiedenen Arnstädter Organistenämter macht. Der Brief wird quellenkritisch untersucht und besonders hinsichtlich seiner Aussagekraft zu Bachs Arnstädter Zeit ausgewertet.
Erwähnte Artikel: Hans-Joachim Schulze: Johann Christoph Bach (1671 bis 1721), "Organist und Schul Collega in Ohrdruf", Johann Sebastian Bachs erster Lehrer. BJ 1985, S. 55-82
Peter Wollny: Alte Bach-Funde. BJ 1998, S. 137-148
Michael Maul: Frühe Urteile über Johann Christoph und Johann Nikolaus Bach, mitgeteilt anläßlich der Besetzung der Organistenstelle an der Jenaer Kollegienkirche. BJ 2004, S. 157-168
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Richards, Anna. "The Sentimental Novel asTrostschrift: Johann Martin Miller'sSiegwart. Eine Klostergeschichte(1776)." Publications of the English Goethe Society 79, no. 3 (November 2010): 147–58. http://dx.doi.org/10.1179/095936810x12790101593074.
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Fekete, Ilona. "Family at the Fringes: The Medico-Alchemical Careers of Johann Ruland (1575–1638) and Johann David Ruland (1604–1648?)." Early Science and Medicine 17, no. 5 (2012): 548–69. http://dx.doi.org/10.1163/10.1163/15733823-175000a5.
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The Ruland family was perhaps the most famous clan involved in alchemy and medicine in early modern Central and Eastern Europe. Yet while more prominent members of the family, such as Martin Ruland Junior (1569–1611), participated in the alchemical milieu at the court of Rudolf II in Prague, other members, farther from the centre of Empire, are also significant to the study of interconnections between early modern alchemy, science, and medicine. A case in point is the misunderstood figure of Johann David Ruland (1605–1648?), who plied his trade in the territories of Royal Hungary. His major publication, the Pharmacopoea nova (1644), introduced the rudiments of his “filth-pharmacy” (Dreckapotheke): the use of bodily waste to cure and heal certain afflictions. Yet in the secondary literature, Johann David’s life and work have often been confused with the activities of his uncle, Johann Ruland (1585–1638). The present biographical study of both Johann and Johann David seeks to disentangle their respective intellectual legacies, allowing us the opportunity to resituate both men within their respective medical and alchemical contexts.
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Talbot, M. "Monica Huggett, Birds, beasts and battles; Simon Standage, Johann Sebastian Bach, Antonio Vivaldi, Francesco Bonporti; Martin Haselbock, Antonio Vivaldi; Andrew Manze, Johan Joachim Agrell, Johann Adolph Scheibe, Johann Adolph Hasse." Early Music XXI, no. 3 (August 1, 1993): 499–501. http://dx.doi.org/10.1093/em/xxi.3.499.
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Janssen, Diederik F. "From Libidines nefandæ to sexual perversions." History of Psychiatry 31, no. 4 (June 30, 2020): 421–39. http://dx.doi.org/10.1177/0957154x20937254.
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A conceptual evolution is traceable from early modern classifications of libido nefanda (execrable lust) to early nineteenth-century allusions to ‘perversion of the sexual instinct’, via pluralizing notions of coitus nefandus/sodomiticus in Martin Schurig’s work, and of sodomia impropria in seventeenth- through late eighteenth-century legal medicine. Johann Valentin Müller’s early breakdown of various unnatural penchants seemingly inspired similar lists in works by Johann Christoph Fahner and Johann Josef Bernt, and ultimately Heinrich Kaan. This allows an ante-dating of the ‘specification of the perverted’ (Foucault) often located in the late nineteenth century, and appreciation of pygmalionism and necrophilia as instances of ‘perverted sexual instinct’. In this light, Kaan’s early psychopathia sexualis was less innovative and more ambivalent than previously thought.
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Möller, Eberhard. "Der Dresdner Hofpoet Johann Seusse : eine Ergänzung zu Jörg-Ulrich Fechners Beitrag im Schütz-Jahrbuch 6 (1984)." Schütz-Jahrbuch 30 (July 20, 2017): 191–201. http://dx.doi.org/10.13141/sjb.v2008582.
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Johann Seusse (1566-1631) ist als Autor deutschsprachiger Gedichte sowie einiger lateinischer Epicedien zu Werken Heinrich Schützʼ überliefert. Eine persönliche Bekanntschaft mit Schütz, den er als Komponisten in bildreichen Worten würdigte, sowie gute Kenntnisse auf dem Gebiet der Musik können vorausgesetzt werden. Seusse war außerdem mit Johannes Kepler und Martin Opitz bekannt und wirkte ab 1600 als kurfürstlicher Sekretär in Dresden; ansonsten ist über seine Biographie nur wenig bekannt. Es bedarf noch weiterer Untersuchungen von Seusses Schaffen, um feststellen zu können, inwieweit die negative Beurteilung eines seiner Gedichte durch Jörg-Ulrich Fechner auch für das sonstige deutschsprachige Schaffen des Dichters zutrifft.
Quelle: Bibliographie des Musikschrifttums online
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Patterson, Paige. "Forces of Change: The Sculpting of a Reformer." Perichoresis 15, no. 4 (December 1, 2017): 3–12. http://dx.doi.org/10.1515/perc-2017-0019.
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Abstract With this article, Paige Patterson identifies six events in the life of Martin Luther that shaped the Reformer and ultimately affected the entire Reformation. By surveying Luther’s journey to Rome, his friendship with Johann von Staupitz, the Leipzig Disputation, the Diet of Worms, his year in Wartburg Castle, and his marriage to Katharina von Bora, Patterson’s goal is for his readers to gain a greater understanding of Martin Luther. In so doing, Patterson encourages his readers to consider the contribution of these events and the people involved to their own lives still today.
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Ahrens, Christian. "Bearbeitung oder Einrichtung? Felix Mendelssohn Bartholdys Fassung der Bachschen Matthäus-Passion und deren Aufführung in Berlin 1829." Bach-Jahrbuch 87 (March 8, 2018): 71–97. http://dx.doi.org/10.13141/bjb.v20011725.
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Gefragt wird, wer außer Felix Mendelssohn Bartholdy noch maßgeblichen Anteil an der Vorbereitung der Wiederaufführung von Johann Sebastian Bachs Matthäuspassion 1829 hatte. Die These Martin Gecks, Mendelssohn habe nur geringfügig in die Faktur des Werkes eingegriffen und es könne daher von einer Bearbeitung keine Rede sein, allenfalls von einer Einrichtung, wird kritisch hinterfragt. (Oliver Schöner, Quelle: Bibliographie des Musikschrifttums online)
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Dürr, Alfred. "Zu Johann Sebastian Bachs Hallenser Probestück von 1713." Bach-Jahrbuch 81 (February 2, 2018): 183–84. http://dx.doi.org/10.13141/bjb.v19951062.
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Der Beitrag setzt sich mit der von Friedrich Chrysander 1858 aufgebrachten Vermutung auseinander, J. S. Bach habe bei seiner Bewerbung in Halle die Kantate Ich hatte viel Bekümmernis aufgeführt. Die Entstehung und Weiterentwicklung der These wird umrissen, ehe der Autor sich zur seiner Ansicht nach entscheidenden Frage äußert, ob die „Per ogni tempo“ bezeichnete Kantate an einem 2. Adventssonntag, dem Tag der Bach'schen Probeaufführung in Halle, hätte Verwendung finden können und dürfen.
Erwähnte Artikel: Martin Petzoldt: „Die kräfftige Erquickung unter der schweren Angst-Last“. Möglicherweise Neues zur Entstehung der Kantate BWV 21. BJ 1993, S. 31-46
Peter Wollny: Bachs Bewerbung um die Organistenstelle an der Marienkirche zu Halle und ihr Kontext. BJ 1994, S. 25-39
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Medňanský, Karol. "Songwriting and Chorale by Martin Luther." Review of Artistic Education 17, no. 1 (March 1, 2019): 22–31. http://dx.doi.org/10.2478/rae-2019-0002.
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Abstract The five hundreth anniversary that we commemorated in 2017 is a good opportunity to remind the significance of vocal works by Martin Luther. Creative musical activity of Dr. Martin Luther is somehow in the shadow of his other historically significant activities. It is a well-known fact that he was an outstanding musician who could play lute and could sing. In his household, he constantly played music and sang, while he actively engaged his family in performing music. In performing the reformatory ideas, he was aware of the extremely important role of religious singing, which he started composing since 1523. He is the author of 38 songs – chorales, while at the same time, he is the author of 20 melodies. In most cases, he used the texts of the Psalms. From his chorals the best known is entitled Ein feste Burg is unser Gott – The Fortified Castle is the Lord our God, that became worldwide the anthem of the Protestants. Luther have become an important inspirational source for the next generation of composers, and they culminated in the work of Johann Sebastian Bach, including the works of contemporary Slovak composers – Roman Berger, Víťazoslav Kubička. The prevailing majority of Lutheran chorales is also the part of the Protestant Songbook in Slovakia.
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Jung, Hans Rudolf. "Der Bach-Schüler Bernhard Christian Kayser als Bewerber um die Hof- und Stadtorganistenstelle in Schleiz." Bach-Jahrbuch 91 (March 12, 2018): 281–86. http://dx.doi.org/10.13141/bjb.v20051773.
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Zu Beginn wird der erhalten gebliebene Bewerbungsbrief, den der Vater B. C. Kaysers 1728 in dessen Angelegenheit verfasst hatte, im Wortlaut wiedergegeben. Es folgen biografische Angaben zum Vorgänger auf der vakanten Stelle, Johann Michael Cramer und Ausführungen zum Schleizer Musikleben (unter anderem zu Bachs dortigem Besuch 1721). Auch Schreiber wie Adressat des Briefs (Johann Martin Alberti, Archidiakon) werden gewürdigt. Insgesamt wird der Brief als Beleg zahlreicher direkter und indirekter persönlicher Verbindungen zwischen (musikalischen) Persönlichkeiten der kleinen mitteldeutschen Residenzen gewertet.
Erwähnter Artikel: Andrew Talle: Nürnberg, Darmstadt, Köthen - Neuerkenntnisse zur Bach-Überlieferung in der ersten Hälfte des 18. Jahrhunderts. BJ 2003, S. 143-172
Weiterführende Artikel: Hans Löffler: Die Schüler Joh. Seb. Bachs. BJ 1953, S. 5-28
Bernd Koska: Bach-Schüler bei der Organistenwahl zu Schleiz 1727/28. BJ 2012, S. 225-234
15
Jurkowlaniec, Grażyna, and Maciej Ptaszyński. "Anticlerical Motifs in the Illustrations of Martin Luther’s Hauspostille." Religions 11, no. 12 (November 25, 2020): 633. http://dx.doi.org/10.3390/rel11120633.
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Drawing on the example of the editions of a Protestant bestseller, Martin Luther’s Hauspostille, printed several times in Nuremberg between 1544 and 1548 by Johann vom Berg and Ulrich Neuber, the study examines the sources, location, and function of the anticlerical motifs in the Protestant postils. Prominent in the first editions of the Hauspostille of 1544 and 1545, the anticlerical scenes were eliminated in 1548. The authors argue that both the usage and subsequent removal of these woodcuts was dependent not on the direct religious context in Luther’s sermons, but on pragmatic political considerations as they affected the religious situation in the city of Nuremberg. The deployment of antipapal imagery in the mid-1540s coincided with Nuremberg’s strong engagement in the aggravating conflict between the emperor and the Protestants, whereas its elimination was triggered by the defeat of Protestants and the introduction of the Augsburg Interim.
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Macedonski, A. "Johann Martin Honigberger (1795-1869), ein Vorläufer der Homöopathie aus dem Gebiete Rumäniens (Siebenbürgen)." Zeitschrift für Klassische Homöopathie 29, no. 06 (April 2, 2007): 254–56. http://dx.doi.org/10.1055/s-2006-938153.
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Köpp, Kai. "Johann Adolph Scheibe als Verfasser zweier anonymer Bach-Dokumente." Bach-Jahrbuch 89 (March 12, 2018): 173–96. http://dx.doi.org/10.13141/bjb.v20031786.
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Weniger bekannt als der "Scheibe-Birnbaum-Disput" ist ein Streit, der kurz vor J. S. Bachs Tod um den italienischen Musikgeschmack entbrannte und in dem gerade die Werke Bachs ausländischen Komponisten als Vorbild präsentiert wurden. Eine im Artikel dargelegte ausführliche Untersuchung der Quellen ergab, dass Scheibe hier als entschiedener Verteidiger Bachs auftrat und auch dessen überzeitliche Bedeutung betonte. Eingehend wird deduziert, warum Scheibe als Verfasser der anonym veröffentlichten Schriften benannt wird. Der Disput und ähnliche ästhetische Auseinandersetzungen (z. B. Marpurg, Gedanken über die welschen Tonkünstler) werden aufgerollt und Parallelen bis hin zur Wortwahl nachgewiesen. Abschließend werden Scheibes frühe Kritik an der "Schwülstigkeit" Bachs und seine spätere Bewunderung einander gegenübergestellt und auf eine ausstehende Würdigung Scheibes in seinem Gesamtschaffen verwiesen.
Erwähnte Artikel: Günther Wagner: J. A. Scheibe - J. S. Bach: Versuch einer Bewertung. BJ 1982, S. 33-50
Hans Joachim Kreutzer: Johann Sebastian Bach und das literarische Leipzig der Aufklärung. BJ 1991, S. 7-32
Weiterführende Artikel: Martin Zenck: Stadien der Bach-Deutung in der Musikkritik, Musikästhetik und Musikgeschichtsschreibung zwischen 1750 und 1800. BJ 1982, S. 7-32
Hans-Joachim Schulze: Friedrich Wilhelm Marpurg, Johann Sebastian Bach und die "Gedanken über die welschen Tonkünstler" (1751). BJ 2004, S. 121-132
Michael Maul: Johann Adolph Scheibes Bach-Kritik. Hintergründe und Schauplätze einer musikalischen Kontroverse. BJ 2010, S. 153-198
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Knödler, Stefan. "WIEDERENTDECKUNG UND MISSVERSTÄNDNIS." Daphnis 39, no. 3-4 (March 30, 2010): 611–36. http://dx.doi.org/10.1163/18796583-90000812.
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Der Aufsatz beschäftigt sich mit den Anfängen einer literaturgeschichtlichen Tradition, die statt in Martin Opitz den ‘Vater der deutschen Dichtung’ zu sehen, die Qualitäten des älteren Georg Rudolf Weckherlin hervorhebt. Dies geschieht ab der Mitte des 18. Jahrhunderts und besonders nachdrücklich dann bei Johann Gottfried Herder, Karl Philipp Conz und August Wilhelm Schlegel. Untersucht werden die Gründe, warum die Würdigung Weckherlins fast ausschließlich auf den Inhalt — den ‘Gehalt’ — von dessen Gedichten beschränkt bleibt, während die Opitzsche Versreform nicht in Frage gestellt wird und der Hinweis auf Weckherlin damit ohne Folgen für die dichterische Praxis bleibt.
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Medňanský, Karol. "1. Period Influence on the Work of Johann Sebastian Bach." Review of Artistic Education 19, no. 1 (April 1, 2020): 1–9. http://dx.doi.org/10.2478/rae-2020-0001.
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AbstractThe work of Johann Sebastian Bach (1685 - 1750), significantly influences the work of the contemporary composers even almost 270 years after his death. It is undoubtedly caused also by the fact that by his work Bach impersonates contemporary musical tradition. There are the three most significant areas in his work – the influence of family tradition on his work, which we can observe throughout the Thuringia, where they have had a significant musical position for 200 years in all the areas of music – secular, urban, spiritual and ecclesiastical. The tradition of German music is not less important. It influenced Johann Sebastian Bach during his studies and was based directly on the essence of protestant educational principle. Filip Melanchton, the most significant collaborator and a friend of Martin Luther, was contributory in the reform of this principle. The most important is the influence of Luther’s Reformation on the spiritual world of J. S. Bach, which reached such dimensions that he unites theology and music. Under the influence of the aforementioned three areas, the work of Bach has acquired exceptional artistic and spiritual quality, a unique phenomenon in the history of music.
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Blaut, Stephan, and Hans-Joachim Schulze. ""Wo Gott der Herr nicht bei uns hält" BWV 1128 - Quellenkundliche und stilistische Überlegungen." Bach-Jahrbuch 94 (March 13, 2018): 11–32. http://dx.doi.org/10.13141/bjb.v20081897.
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Anknüpfend an ein Quellenkunde und Stilkritik betreffendes Zitat Georg von Dadelsens, dessen Andenken der Artikel gewidmet ist, wird das im Titel genannte Werk zuerst quellenkundlich eingeordnet. Eine Analyse von Form und Aufbau folgt, woraufhin ein Vergleich mit Buxtehudes Nun freut euch, lieben Christen gmein BuxWV 210 vorgenommen wird. Anmerkungen zur Datierungen bilden den Schluss des Artikels.
Erwähnte Artikel: Hans-Joachim Schulze: Ein apokryphes Händel-Concerto in Joh. Seb. Bachs Handschrift? BJ 1980, S. 27-34
Russell Stinson: "Ein Sammelband aus Johann Peter Kellners Besitz": Neue Forschungen zur Berliner Bach-Handschrift P 804. BJ 1992, S. 45-64
Hans-Joachim Schulze: Besprechung zu: [...] Bach-Werke-Verzeichnis (BWV), Hg. Wolfgang Schmieder, 2. üa. u. erw. Aufl. Wiesbaden 1990. BJ 1992, S. 133-136
Peter Wollny: Tennstedt, Leipzig, Naumburg, Halle - Neuerkenntnisse zur Bach-Überlieferung in Mitteldeutschland. BJ 2002, S. 29-60
Martin Petzoldt: Zum Verhältnis Friedrich Nietzsches zu Johann Sebastian Bach - Nietzsches Urgroßvater, Alumnus der Thomasschule und Präfekt unter Bach. BJ 2007, S. 229-242
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Decker mlajši, Paul, and Izidor Janžekovič. "Laconicum Europae speculum – Lakonsko ogledalo Evrope." Clotho 3, no. 1 (September 7, 2021): 207–33. http://dx.doi.org/10.4312/clotho.3.1.207-233.
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V prvi polovici 18. stoletja je bila objavljena serija devetih oziroma desetih latinskih tiskov z naslovom Lakonsko ogledalo Evrope (Laconicum Europae speculum). Podobe z napisi je zasnoval Paul Decker mlajši (1685-1742), Johann Wolfgang Baumgartner (1709-1761) je postavil le tisk za Nizozemca, same bakroreze so izdelali različni bakrorezci (Christian Friedrich Lottes, Johann Georg Pinz, Philipp Andreas Kilian, Andreas Hoffer), uredil in izdal pa jih je Martin Engelbrecht (1684–1756) v Augsburgu okrog leta 1730. Celotni naslov je daljši, Lakonsko ogledalo Evrope, v katerem je brez predsodkov, posmehovanja ali zaničevanja predstavljenih njenih devet posebej uglednih narodov in ljudstev, ki se v določenih lastnostih in znamenjih razlikujejo, vse zaradi radovednosti in zabave (Laconicum Europae speculum: quo IX. illius praecipuae nationes et populi, absque omni praeiudicio, ludibrio et opprobrio, saltem curiositatis et oblectationis gratia, certis characteribus et symbolis discernuntur, ob oculos positum).1 V naslovu je torej pojasnjen tudi razlog za nastanek teh tiskov, izšli so ≫zaradi radovednosti in zabave≪ (curiositatis et oblectationis gratia). Podobno kot ostale razpredelnice ljudstev ti bakrorezi niso bili mišljeni kot predstavitev realnih podob, temveč so bili namenjeni tudi zabavi.
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Klauck, Hans-Josef. "Hundert Jahre Formgeschichte: Ein Tribut an die Begründer." Biblische Zeitschrift 64, no. 1 (January 16, 2020): 49–84. http://dx.doi.org/10.30965/25890468-06401003.
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Abstract A hundred years ago, in 1919–1922, the groundbreaking works on form-criticism appeared, mainly independent of each other. This means that it is time for a retrospect and an evaluation. The article starts with the forerunners, especially Johann Gottlieb Herder and Hermann Gunkel, but also some others. Then main paragraphs are devoted to each of the five protagonists: Martin Dibelius, Karl Ludwig Schmidt, Rudolph Bultmann, Martin Albertz and Georg Bertram. Their foundational form-critical studies are discussed and contextualized within their lives and their literary output. In the case of Dibelius, more attention than usual is given to the important differences between the first (1919) and the second edition (1933) of his “Formgeschichte” that was decisive for creating the terminology. The little known political options that Bertram favored are criticized. The final section draws some lines from the early 20th century to the present days.
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Ryan, James. "Music next to Theology: The Impact and Influence of Martin Luther's Reformation on Johann Sebastian Bach." Musical Offerings 10, no. 2 (2019): 81–91. http://dx.doi.org/10.15385/jmo.2019.10.2.3.
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Bagchi, David. "Catholic Anti-Judaism in Reformation Germany: The Case of Johann Eck." Studies in Church History 29 (1992): 253–63. http://dx.doi.org/10.1017/s0424208400011335.
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In any inquiry into Christian attitudes to Judaism in sixteenth-century Germany, exhibit A would undoubtedly be the later writings of Martin Luther against the Jews. The choice for exhibit B presents more of a problem, but a strong case can be made out for an almost contemporary anti-Jewish treatise from the pen of Luther’s staunchest Catholic opponent, Johann Eck. His Refutation of a Jew Pamphlet tends to attract superlatives—‘the most abusive to have been written against the Jews’, ‘the most massive and systematic formulation of the blood libel… the summa of learned discourse on ritual murder’, ‘the absolute nadir of anti-Jewish polemic in the early-modern period’—and something of its unpleasantness can be gauged from the fact that Trachtenberg cited it so often in his disturbing book, The Devil and the Jews. The year in which our Society has chosen to take for its theme ‘Christianity and Judaism’ is also the 450th anniversary of the publication of Eck’s remarkable treatise. It is perhaps an appropriate occasion on which to explore, in rather more detail than has been done before, the context and nature of Eck’s anti-Jewish polemic.
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Kalό, Ildiko. "Considerations on the Elements of Musical Language in ‘La casa di peste drum’ [At the House across the Road] by Tudor Jarda." Musicology Papers 35, no. 1 (November 1, 2020): 35–40. http://dx.doi.org/10.47809/mp.2020.35.01.02.
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When we speak about musical rhetoric, rhetorical figures, or elements related to musica poetica, we almost always automatically think about the Baroque and, why not, about Johann Sebastian Bach`s music. However, few of us realize that the roots of these notions trace back to the Renaissance, and even fewer will relate them to Martin Luther`s name and the Protestant Reformation. The principles of musical rhetoric developed mainly in the North German space, although they were also present in other countries such as Italy, France and England. It was Germany, however, that in those times most enthusiastically adopted and adapted the terminology, methods and structures of ancient rhetoric. In his Musica Poetica, the German musicologist Dietrich Bartel explains the rise of musical rhetoric in Germany as a consequence of Martin Luther`s view of music being embraced by the Christian believers. Over the sixteenth to eighteenth centuries, musical rhetoric was continuously enriched and perfected, generating an extremely elaborate art whose focus was to find equivalences between rhetorical figures and musical intervals. Thus, music acquired a higher degree of accuracy of expression.
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Staehelin, Martin. "Martin Petzoldt (Hg.),Bach als Ausleger der Bibel. Theologische und musikwissenschaftliche Studien zum Werk Johann Sebastian Bachs." Arbitrium 2, no. 1 (January 1987): 163–65. http://dx.doi.org/10.1515/arbi.1987.2.1.163.
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Arndt, Martin. "Martin Kumlehn: Gott zur Sprache bringen. Studien zum Predigtverständnis Johann Gottfried Herders im Kontext seiner philosophischen Anthropologie." Zeitschrift für Religions- und Geistesgeschichte 62, no. 4 (2010): 397–98. http://dx.doi.org/10.1163/157007310793352098.
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Allihn, Ingeborg. "Petzoldt, Martin: Johann Sebastian Bach. Ehre sei dir Gott gesungen [...] Bachs Leben als Christ [...] Berlin, Göttingen 1988." Bach-Jahrbuch 76 (May 11, 2018): 81–83. http://dx.doi.org/10.13141/bjb.v19902718.
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Groop, Kim. "Undoing GDR Iconoclasm: The Return and Interpretation of a Spiritual and Academic Heritage through the Building of the Paulinum in Leipzig." Church History 88, no. 4 (December 2019): 1013–38. http://dx.doi.org/10.1017/s000964071900249x.
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On the first Sunday of Advent in 2017, a new university church was consecrated at Leipzig University in Germany. This celebration brought to an end the five-decade-long absence of a church within the old university. The inauguration of the Paulinum—as the combined church and assembly hall was named—visibly reconnected the university with a church history involving the active participation of personalities such as Martin Luther, Johann Tetzel, Felix Mendelssohn, and Johann Sebastian Bach. Under scrutiny in this article is the 1968 destruction of the University Church of Saint Paul, originally a medieval monastery, by the Socialist Unity Party (SED) as a kind of socialist iconoclasm. Through the destruction of the University Church of Saint Paul, I argue, the church became something of an architectonic and cultural martyr. Although the Paulinum is not viewed as a direct continuation of the university church, its completion and refurbishing with art treasures from the old church has, however, come to be viewed as a counterpart to SED barbarism and as an undoing of some aspects of the destruction. Moreover, some episodes from the university church and its destruction have been passed on and attached to the Paulinum as a mnemonic layer, much valued by the university, city, and region.
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Pavlas, Petr. "Komeniáni v Karteziánském Zrcadle." Studia Neoaristotelica 16, no. 4 (2019): 41–77. http://dx.doi.org/10.5840/studneoar20191646.
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The article picks up the threads of especially Martin Muslow’s 1990s research and describes the distinctiveness of the “relational metaphysics of resemblance” in the middle of the seventeenth century. The late Renaissance metaphysical outlines, carried out in the Comenius circle, are characteristic for their relationality, accent on universal resemblance, providentialism, pansensism, sensualism, triadism – and also for their effort to define metaphysical terms properly. While Comenians share the last – and only the last – feature with Cartesians, they differ in the other features. Therefore, Cartesians and Comenians cannot come to terms in the issue of the proper definitions either. Quite on the contrary, they oppose each other on this issue. By means of Johann Clauberg’s criticism of Georg Ritschel and René Descartes’s only supposedly “mysterious” and “solipsist” second meditation, the article turns a Cartesian mirror to the Comenian metaphysical project. In its light, the definitions of Georg Ritschel, Johann Heinrich Bisterfeld and Jan Amos Comenius turn out to be unacceptable for Cartesians (and also for Thomists and, in part, for Baconians). Despite their superficially Aristotelian-scholastic appearance, their content is notably Paracelsian-Campanellian (with a Timplerian foundation). Even though Comenian definitions of metaphysical terms had been refused and refuted by Cartesians, they experienced a second lifespan in their robust influence on Leibniz and Newton.
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Schmeisser, Martin, and Klaus Birnstiel. "GELEHRTENKULTUR UND ANTITRINITARISCHE HÄRESIE AN DER NÜRNBERGER AKADEMIE ZU ALTDORF." Daphnis 39, no. 1-2 (March 30, 2010): 221–85. http://dx.doi.org/10.1163/18796583-90000797.
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Die Nürnberger Akademie zu Altdorf gilt aufgrund des Dissidentenkreises um den Philosophie- und Medizinprofessor Ernst Soner (1573-1612) als das bedeutendste Zentrum des Antitrinitarismus im Reichsgebiet. Aus dem Zirkel um Soner gingen namhafte Vertreter der Ecclesia minor hervor, wie Martin Ruarus (1588-1657) und Johann Crell (1590-1633). Trotz seiner Bedeutung wurden dem Altdorfer ‘Kryptosozinianismus’ bislang nur wenige Einzelstudien gewidmet. Der thematische Schwerpunkt des vorliegenden Beitrags bilden die intellektuellen Voraussetzungen und die soziokulturellen Rahmenbedingungen, welche die Genese nonkonformer religiöser Anschauungen an der Academia Norica in der ersten Hälfte des 17. Jahrhunderts bestimmt haben. In den Blick genommen werden zudem die Kommunikationsformen der Altdorfer Dissidenten, die zu beobachtenden Prozesse des Aushandelns von Kompromissen und die Formen praktizierter Toleranz seitens der Obrigkeit.
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Kalό, Ildiko. "Influența viziunii lui Luther asupra muzicii în apariția conceptelor de musica poetica și retorică muzicală." Lucrări de Muzicologie 35, no. 1 (November 1, 2020): 33–38. http://dx.doi.org/10.47809/lm.2020.35.01.02.
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De cele mai multe ori, când vorbim despre retorică muzicală, despre figuri retorice sau elemente care țin de musica poetica, gândul ni se duce spre Baroc și, de ce nu, spre muzica lui Johann Sebastian Bach. Însă puțini dintre noi realizăm că augurii acestor noțiuni au pornit încă din Renaștere și un număr mult mai mic dintre noi vom conecta toate acestea de numele lui Martin Luther și Reforma protestantă. Principiile retoricii muzicale s-au dezvoltat cu precădere în spațiul nord-german, deși au fost prezente și în alte țări ca Italia, Franța și Anglia. Germania a fost, însă, cea care a adoptat și adaptat în modul cel mai entuziast în această perioadă terminologia, metodele și structurile retoricii antice. Muzicologul german Dietrich Bartel explică în Musica poetica motivul ascensiunii retoricii muzicale în Germania, prin îmbrățișarea viziunii lui Martin Luther asupra muzicii de către credincioșii creștini. Pe parcursul secolelor XVI-XVIII, retorica muzicală se îmbogățește și se perfecționează continuu, generând o artă extrem de elaborată, al cărei focus era găsirea de echivalențe între figurile retorice și intervalica muzicală. În acest mod, muzica a primit un plus de exactitate în ceea ce privește exprimarea.
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Lupu, Anamaria. "Observații asupra elementelor de limbaj muzical în lucrarea La casa di peste drum de Tudor Jarda." Lucrări de Muzicologie 35, no. 1 (November 1, 2020): 39–48. http://dx.doi.org/10.47809/lm.2020.35.01.03.
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De cele mai multe ori, când vorbim despre retorică muzicală, despre figuri retorice sau elemente care țin de musica poetica, gândul ni se duce spre Baroc și, de ce nu, spre muzica lui Johann Sebastian Bach. Însă puțini dintre noi realizăm că augurii acestor noțiuni au pornit încă din Renaștere și un număr mult mai mic dintre noi vom conecta toate acestea de numele lui Martin Luther și Reforma protestantă. Principiile retoricii muzicale s-au dezvoltat cu precădere în spațiul nord-german, deși au fost prezente și în alte țări ca Italia, Franța și Anglia. Germania a fost, însă, cea care a adoptat și adaptat în modul cel mai entuziast în această perioadă terminologia, metodele și structurile retoricii antice. Muzicologul german Dietrich Bartel explică în Musica poetica motivul ascensiunii retoricii muzicale în Germania, prin îmbrățișarea viziunii lui Martin Luther asupra muzicii de către credincioșii creștini. Pe parcursul secolelor XVI-XVIII, retorica muzicală se îmbogățește și se perfecționează continuu, generând o artă extrem de elaborată, al cărei focus era găsirea de echivalențe între figurile retorice și intervalica muzicală. În acest mod, muzica a primit un plus de exactitate în ceea ce privește exprimarea.
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Dembińska-Pawelec, Joanna. "Spektakl w teatrze marionetek. O wierszu Stanisława Barańczaka Bist Du bei mir raz jeszcze." Poznańskie Studia Polonistyczne. Seria Literacka, no. 36 (June 15, 2019): 195–211. http://dx.doi.org/10.14746/pspsl.2019.36.12.
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This essay presents an interpretation of Stanisław Barańczak’s Bist du bei mir – a poem that has often been the subject of literary studies. The author refers to the poem’s motto – a fragment of an aria by Gottfried Heinrich Stölzel from Clavierbüchlein für Anna Magdalena Bach, often falsely attributed to Johann Sebastian Bach. She also points at the context of mystical poetry: Adam Mickiewicz’s epigrams from Zdania i uwagi z dzieł Jakuba Bema, Anioła Ślązaka (Angelus Silesius) i Sę-Martena [Sentences and remarks. From the works of Jacob Böhme, Angelus Silesius, and St. Martin] and G. Herbert’s poems translated by Barańczak. In the author’s reading, the poet, in an ironic gesture of reference, strips the reader of literarydelusions, discovering deeply tragic dimensions of life and, possibly, also of personal experience of suffering.
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Küster, Konrad. "Schütz, Opitz und andere bei Christian Druhl (1650)." Schütz-Jahrbuch 30 (July 20, 2017): 69–91. http://dx.doi.org/10.13141/sjb.v2008576.
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Der norddeutsche Theologe und Komponist Christian Druhl (nachweisbar zwischen 1635 und 1661, zuletzt als Pastor in Kellinghusen bei Itzehoe) legt in den Geistlichen Konzerten seiner 'Psalmodia Davidico-Ecclesiastica' von 1650 für die ersten 10 Psalmen 29 Kompositionen vor, also 2-4 Kompositionen je Psalm. Jeweils einer von ihnen liegt ein Ausschnitt biblischer Prosa zugrunde, den übrigen jeweils eine Einzelstrophe aus Psalmdichtungen (Ambrosius Lobwasser, Martin Opitz, Bartholomäus Ringwald) mit deren zugehörigen Melodien oder mit deren Satzverbund (Cornelius Becker/ Heinrich Schütz). Druhl unterscheidet die Satztypen als 'Concerte' (Bibelwort) und 'Madrigale' (Aufbereitung der Einzelstrophen aus Psalmdichtungen). Er leistet damit einen eigenständigen Beitrag zur zeitgenössischen Gattungsdifferenzierung unmittelbar vor Caspar Zieglers Madrigalabhandlung und im Umfeld sowohl der Dichtungsreformen durch Johann Rist als auch der Herausbildung des Prinzips 'Concerto cum aria'. (Autor)
Quelle: Bibliographie des Musikschrifttums online
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Pitkin, Barbara. "Seeing and Believing in the Commentaries on John by Martin Bucer and John Calvin." Church History 68, no. 4 (December 1999): 865–85. http://dx.doi.org/10.2307/3170207.
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John Eck's allegation that those advancing justification by faith alone were themselves finding it necessary to distinguish different types of faith describes accurately the reality in the evangelical movement in the 1530s–1550s. The Reformers' initial clarity and optimism about saving faith is seen, for example, in Article 20 of the Augsburg Confession (1530), which describes the scriptural view of faith as a confidence in God and a certain assurance of God's grace. Moreover, the Confession carefully distinguishes this true faith from both mere knowledge of historical events concerning Christ and from virtuous actions that spring from faith, and does not deign to designate these latter legitimate types of faith. However, subsequent dissension within the Protestant camp over the Law (Johann Agricola, for example), justification (Andreas Osiander, for example), and the sacraments, combined with the continued criticism of those Catholic opponents designated by Eck as “the faithful,” forced the magisterial Reformers to defend and, in some cases, refine their understandings of faith. Missing from Eck's assessment, however, is an indication of how exegetical activity in addition to polemical exchanges might attest and even contribute to this reevaluation. In this regard, the Gospel of John constitutes an especially important area for investigation. Protestant understandings of faith were drawn from and bolstered by Pauline texts, especially Rom. 1:17, 3:28, 4:3–9, and 10:17; Gal. 4:6; and Heb.
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Rifkin, Joshua. "Chorliste und Chorgröße bei Johann Sebastian Bach. Neue Überlegungen zu einem alten Thema." Bach-Jahrbuch 98 (February 9, 2018): 121–43. http://dx.doi.org/10.13141/bjb.v20121207.
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Der Text tritt einigen nach Meinung des Autors fehlerhaften Interpretationen von Originaldokumenten zur Bach‘schen Aufführungspraxis, besonders zu Umfang und Besetzung seiner Chöre, entgegen. Im Folgenden wird detailliert auf eine Auswahl solcher Dokumente (Schul- und Gottesdienstordnungen, Choraufstellungen) und jeweiligen Interpretationen eingegangen, die auf ihre Aussagekraft geprüft werden. Ergebnis der Auswertung ist die Behauptung, Thesen zur Chorgröße in Bachs Aufführungen, die einseitig auf Grundlage dieser Texte gestellt würden, seien bar jeder tragfähigen Begründung.
Erwähnte Artikel: Bernhard Friedrich Richter: Stadtpfeifer und Alumnen der Thomasschule in Leipzig zu Bachs Zeit. BJ 1907, S. 32-78
Hans-Joachim Schulze: Studenten als Bachs Helfer bei der Leipziger Kirchenmusik. BJ 1984, S. 45-72
Christine Fröde: Zu einer Kritik des Thomanerchores von 1749. BJ 1984, S. 53-58
Andreas Glöckner: "... daß ohne Hülffe derer Herren Studiosorum der Herr Cantor keine vollstimmende Music würde bestellen können ...". Bemerkungen zur Leipziger Kirchenmusik vor 1723 und nach 1750. BJ 2001, S. 131-140
Hans-Joachim-Schulze: Rezension zu: Andrew Parrott: Bachs Chor [...]. BJ 2003, S. 267-270
Andreas Glöckner: Alumnen und Externe in den Kantoreien der Thomasschule zur Zeit Bachs. BJ 2006, S. 9-36
Martin Petzoldt: Zum Verhältnis Friedrich Nietzsches zu Johann Sebastian Bach - Nietzsches Urgroßvater, Alumnus der Thomasschule und Präfekt unter Bach. BJ 2007, S. 229-242
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Detering, Nicolas. "Andreas Hammerschmidt Weltliche Oden (1642) und ihr Textdichter Ernst Christoph Homburg." Die Musikforschung 66, no. 4 (September 22, 2021): 327–38. http://dx.doi.org/10.52412/mf.2013.h4.131.
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Der Thüringer Übersetzer und Schäferlieddichter Ernst Christoph Homburg (1607-1681) darf als einer der wichtigsten Vertreter der frühen Barockdichtung in der Nachfolge Johann Hermann Scheins und Martin Opitz' gelten. Seinem lyrischen Hauptwerk, der "Schimpff- und Ernsthafften Clio" (1638, 1642), war im mittleren 17. Jahrhundert beachtlicher Erfolg beschieden. Unter anderen vertonte der Zittauer Organist Andreas Hammerschmidt (1611-1675) insgesamt zehn von Homburgs Liedern. Nach einer Vorstellung Homburgs wird Hammerschmidts Textauswahl tabellarisch aufgeschlüsselt, knapp kommentiert und, vor allem im Hinblick auf Hammerschmidts weitere Vertonungen weltlicher Lieder, literar-historisch eingeordnet. Die Varianten der Textgestalt in den "Weltlichen Oden" zu Homburgs "Clio" (1638) offenbaren geschmackliche Differenzen zwischen Textverfasser und Komponist. Danach wird die gemeinsame Wirkungsgeschichte der "Clio"-Texte und ihrer Vertonung in Hammerschmidts "Oden" skizziert. Eine anhängende "Digression" stellt schließlich knappe Überlegungen zu Hammerschmidts Geburtsdatum an und errechnet, dass er zwischen Mai und Oktober 1611 geboren wurde.
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Triškaitė, Birutė. "Jono Berento giesmyno Is naujo perweizdėtos ir pagerintos Giesmu-Knygos ir maldyno Maldu-Knygelos antrasis leidimas (1735): nežinotas egzempliorius Prahoje." Archivum Lithuanicum, no. 22 (December 3, 2020): 33–82. http://dx.doi.org/10.33918/26692449-22002.
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T he second edition of J ohann B ehrendt ’ s hymn book ISZ naujo pérweizd ėtos ir pagérintos Giesm û-Knygos AND PRAYER BOOK Maldû-Knygélos (1735): an unknown copy in Prague The article presents a 1735 Lithuanian publication from Königsberg (Lith. Karaliaučius) which was believed to not have survived—the hymn book for Prussian Lithuania’s Evangelical Lutherans Iß naujo pérweizdėtos ir pagérintos Giesmû-Knygos (Reviewed and Improved Hymn-book) and the prayer book Maldû-Knygélos (Prayer-book). The only known copy of the second edition of the hymn book and the prayer book was discovered in the National Library of the Czech Republic (Czech Národní knihovna České republiky; NK ČR: 33 K 139) in Prague. It has not been registered in Lithuanian bibliographies. Just as the first 1732 edition, the second edition appeared thanks to the initiative of the theology professor of the University of Königsberg and the chief court preacher, Johann Jacob Quandt (Lith. Jonas Jokūbas Kvantas, 1686–1772), while the archpresbyter of Insterburg (Lith. Įsrutis), Johann Behrendt (Lith. Jonas Berentas, 1667–1737), led the editing team. Aiming to reveal the differences of the second edition from the first, and to highlight the editing tendencies of the hymn and prayer books, this article not only discusses the main features of the copy, but also analyzes the structure of the 1735 edition including the repertoire of new hymns and linguistic particularities of the texts of hymns and prayers written in Lithuanian. Provenance research revealed that the copy belonged to the Lithuanian Dovydas Blindinaitis or Bl(i)undinaitis before reaching this library, and this is supported by handwritten inscriptions on the front and back flyleaves. He acquired the book in 1736 for 33 groschen and must have been its first owner. The imprint “REGIÆ BIBLIOTH: ACAD: PRAGEN:” (“Royal Library of the Academy of Prague”) which is seen on the title page of the hymn book could only appear after 1777 when the Public Imperial-Royal University Library (Czech Veřejná císařsko-královská univerzitní knihovna) in Prague had been established. From the perspective of structure, the 1735 Lithuanian publication is a convolute which consists of two alligates: (1) hymn book and (2) prayer book. The hymn book comprises: (a) two introductions—one written by Quandt in German and one written by Behrendt in Lithuanian, (b) the main section of the hymn book and its appendix “Kittos naujos Gieſmes ßwėey pridėtos” (“Other new recently added hymns”), (c) two indexes—the index for the Lithuanian hymns “Prirodijimas Wiſſû Gieſmû, ant kurro Laißko jos ßoſa Knygoſa randamos yra” (“A listing of all hymns which page they are found on in this book”) and the index of German original hymns called a “Regiſter” (“Register”). The prayer book comprises prayers, collects, the story of Christ’s suffering, and a list of thematic groups of these texts marked “Prirodijimas Wiſſû Maldû” (“A listing of all prayers”). The second (1735) edition of the hymn book differs remarkably from the first (1732) in its structure and scope: (1) All of the hymns that had been previously included in the 1732 edition’s “Appendix arba Kittos naujos Gieſmes ßwėey pridėtos” (“Appendix or other new recently added hymns”) (a total of 34) were integrated into the main section of the hymn book of the 1735 edition comprising 334 hymns; their thematic groupings and subgroupings remained the same; (2) The 1735 edition does not include one of the hymns published in 1732: Peter Gottlieb Mielcke’s (Lith. Petras Gotlybas Milkus, 1695–1753) translation “MIeli Krikßćionis dʒaukimės” (“Dear Christians let us rejoice”) (← Martin Luther, “Nun freut euch lieben Chriſten”); (3) The 1735 edition was supplemented with 26 hymns, that is to say, the second edition comprises 360 hymns. The new hymns are published in the appendix “Kittos naujos Gieſmes ßwėey pridėtos” (“Other new recently added hymns”). Cryptonyms attached to these hymns attest to the fact that their translators were two priests of Prussian Lithuania. For the first time, 18 hymns of the priest of Didlacken (Lith. Didlaukiai), Fabian Ulrich Glaser (Lith. Fabijonas Ulrichas Glazeris, 1688–1747), were included in this hymn book. The priest of Popelken (Lith. Papelkiai), Adam Friedrich Schimmelpfennig (Lith. Adomas Frydrichas Šimelpenigis, 1699–1763), translated 8 new hymns (while 15 of his hymns that had been already published in the 1732 edition were presented in the main section of the hymn book of the 1735 edition). The new repertoire of the Lithuanian hymn book was compiled from the translations of the following German hymn creators of the 16th–18th centuries: Johann Georg Albinus (1624–1679), Martin Behm (1557–1622), Kaspar Bienemann (Melissander, 1540–1591), Simon Dach (1605–1659), Johann Burchard Freystein (1671–1718), Paul Gerhardt (1607–1676), Johannes Gigas (Heune, 1514–1581), Ludwig Andreas Gotter (1661–1735), Johann Heermann (1585–1647), Heinrich Held (1620–1659), Martin Moller (1547–1606), Johann Rist (1607–1667), Samuel Rodigast (1649–1708), Johann Röling (1634–1679), Gottfried Wilhelm Sacer (1635–1699), Arnold Heinrich Sahme (1676–1734), Benjamin Schmolck (1672–1737). In contrast to the hymn book, the structure of the 1735 prayer book published concurrently were not changed; the thematic groups of prayers remained essentially the same as they were in the first edition of 1732. Texts of both the hymn book and the prayer book were edited. The editing tendencies in both are similar and encompass all linguistic levels (phonetics, morphology, lexicon, syntax), as well as orthography and punctuation, but the intensity of editing was different. The orthographic corrections prevail and the most consistent of them are: [i·] <ij> → <y> (characteristic only of the hymn book), [č’] <ć> → <cʒ> (together with refusing the marker indicating consonant palatalization <i>), [·] <e> → <ė>, [ž] ir [ž’] <Ʒ> → <>, marking accent placement with an acute accent < ’ >. The second edition reflects an important stage in the quantitative and qualitative development of Behrendt’s hymn book. In the second edition that appeared just three years later, we see the further consistent efforts of the editors to expand the repertoire of hymns and improve the texts in terms of language (i.e. they first of all sought to standardize the orthography of texts written in different centuries by many different translators). In contrast to the hymn book, the prayer book was improved along only one vector: the language of the texts was edited according to the same principles, while the number of prayers was not increased. The fact that the editors of the second edition devoted more attention to the hymn book than the prayer book probably stems from the important place that hymns hold in the Evangelical Lutheran liturgy.
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Perkins, Larry. "Toward a Theology of the Septuagint: Stellenbosch Congress on the Septuagint, 2018 ed. by Johann Cook and Martin Rösel." Catholic Biblical Quarterly 83, no. 3 (2021): 530–34. http://dx.doi.org/10.1353/cbq.2021.0114.
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Bazarkaya, Onur Kemal. "Şarlatan Yolcusu ve Göç Edebiyatı: Çatışma Modeli bağlamında bir okuma." Göç Dergisi 5, no. 2 (October 31, 2018): 175–84. http://dx.doi.org/10.33182/gd.v5i2.604.
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Orta Çağdan hemen sonra gelen Yeni Çağın başlarındaki bilimsel tartışmalarda şarlatanlar çok büyük bir önem taşırdı; çünkü o dönemde söz sahibi olan bilim insanları onları olumsuz örnekler olarak görür ve bu olumsuzlukları kullanarak bilim için ideal ölçütler saptarlardı. Bilimde bu şekilde “negatif figür” (Hole Rößler) olarak gösterilen şarlatanlar, edebiyatta daha çeşitli ve kompleks biçimlerde ortaya çıkmakta, hatta kimi zaman karizmatik kişilikler olarak tasvir edilmektedir. Bu durum özellikle şarlatan figürünün yoğun bir şekilde sahnelendiği Alman Edebiyatında 18. yüzyılın sonlarında, 19. yüzyılın başlarında görülmektedir. Aynı zamanda söz konusu devirde yazılmış eserlerdeki şarlatanların neredeyse hiçbirinin yerleşik yaşam insanı olmadığı göze çarpmaktadır. Bitmeyen yolculukları gibi bu bağlamda sürekli kıyafet değiştirmeleri ve rol yapmaları da onların kişiliklerine esrarengiz bir hava katmaktadır. Bu çalışmada, Christoph Martin Wieland, Friedrich Schiller ve Johann Wolfgang von Goethe’ye ait eserlerdeki şarlatan karakterinin farklı işlevleri irdelenecektir. Çalışmanın sonucunda şimdiye kadar gözardı edilmiş şarlatan figürüyle birlikte Göç Edebiyatı kapsamındaki araştırmalara yeni bir bakış açısı kazandırmak hedeflendirmektedir.ABSTRACT IN ENGLISHCharlatan Traveller and Migration Literature: A Reading with the Conflict Model At the beginning of modern times, charlatans emerged as of great importance to the scientific discourse of those spokesmen of the scholar community who use them as negative examples and thus define ideal standards for their profession. Charlatans were seen as “negative figures” (Hole Rößler) in science; however, the way they were judged in literature was more complex and varied, and, in some texts, they even seem congenial and charismatic. This phenomenon can be noticed in German literature especially around 1800 when the charlatan figure is used very often. Moreover, it is conspicuous that charlatans in literary depictions of this period generally have no home and travel around constantly. Furthermore, the fact that they change their clothing and camouflage permanently offers to their identity a mysterious dimension. In the field of studies designated as ,Literature and Migration’, this paper aims to provide interpretative perspectives and, in this respect, examines the issue concerning the poetic functions of charlatan travellers as rendered textually in a number of relevant passages chosen from the works of Christoph Martin Wieland, Friedrich Schiller, and Johann Wolfgang von Goethe.
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Gschwandtner, Christina M. "Faith, Religion, and Spirituality: A Phenomenological and Hermeneutic Contribution to Parsing the Distinctions." Religions 12, no. 7 (June 26, 2021): 476. http://dx.doi.org/10.3390/rel12070476.
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Religion and spirituality are contested terms in the fields of Religious Studies, Theology, Sociology or Anthropology of Religion, and other areas, and the notion of faith has often been abandoned altogether. The present article attempts to make a distinctly philosophical contribution to this debate by employing phenomenological parameters, as they are articulated in the work of Martin Heidegger, for proposing distinctions between faith, religion, and spirituality. It then goes on to “fill” these structural distinctions in more detail with hermeneutic content by drawing on Paul Ricœur’s work on faith and religion, as well as Johann Michel’s analysis of Ricœur’s account of the self as a “spirituality”. The article thus employs Heidegger’s phenomenological categories and Ricœur’s hermeneutic project in order to think through the possibility of making phenomenological distinctions between personal confession of faith, religious adhesion to a tradition via myth and ritual, and a broader spirituality as a fundamental dimension of the human being.
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Hernigou, Philippe. "Authorities and foundation of an orthopaedic school in Germany in the nineteenth century: Part I: Conrad Johann Martin Langenbeck; Georg Friedrich Louis Stromeyer; Bernhard Rudolf Conrad von Langenbeck; Johann Friedrich August von Esmarch." International Orthopaedics 40, no. 3 (October 10, 2015): 633–40. http://dx.doi.org/10.1007/s00264-015-3009-y.
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Török, Borbála Zsuzsanna. "Martin Gierl, Geschichte als präzisierte Wissenschaft. Johann Christoph Gatterer und die Historiographie des 18. Jahrhunderts im ganzen Umfang, (Fundamenta Historica; 4)." Berichte zur Wissenschaftsgeschichte 37, no. 1 (March 2014): 86–88. http://dx.doi.org/10.1002/bewi.201401668.
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Rücker, Michaela, Peter Antes, Hans-Christof Kraus, Dirk Blasius, Ulrich van der Heyden, Martin Malek, Michael Peters, et al. "Biografien." Das Historisch-Politische Buch (HPB) 65, no. 4-6 (October 1, 2017): 386–407. http://dx.doi.org/10.3790/hpb.65.4-6.386.
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Hellmut Flashar: Hippokrates. Meister der Heilkunst (Michaela Rücker) Manfred Clauss: Athanasius der Große. Der unbeugsame Heilige (Peter Antes) Johannes Willms: Mirabeau oder die Morgenröte der Revolution. Eine Biografie (Hans-Christof Kraus) Stephanie Velten: Johann Julius Wilhelm Ritter von Planck. Leben und Werk (Dirk Blasius) Katharina Abermeth: Heinrich Schnee. Karriereweg und Erfahrungswelten eines deutschen Kolonialbeamten (Ulrich van der Heyden) Marianna Butenschön: Die Hessin auf dem Zarenthron. Maria. Kaiserin von Russland (Martin Malek) Henrik Meinander: Gustaf Mannerheim. Aristokrat i vadmal. [Gustaf Mannerheim. Aristokrat in Loden] (Michael Peters) Hubert Kiesewetter: Karl Marx und der Untergang des Kapitalismus (Ludger Heid) Jürgen Neffe: Marx. Der Unvollendete (Ludger Heid) Alexander Sperk, Daniel Bohse: Legende, Opportunist, Selbstdarsteller. Felix Graf Luckner und seine Zeit in Halle/Saale (1919-1945) (Wolfgang Kaufmann) Frederick Bacher: Friedrich Naumann und sein Kreis (Hans-Christof Kraus) Werner Plumpe: Carl Duisberg (1861-1935). Anatomie eines Industriellen (Werner Bührer) Olaf Jessen: Die Moltkes. Biografie einer Familie (Heinrich Walle) Wilhelm Hartmut Pantenius: Alfred Graf von Schlieffen. Stratege zwischen Befreiungskriegen und Stahlgewittern (Hans-Christof Kraus) Ingrid Wölk: Leo Baer. 100 Jahre deutsch jüdische Geschichte. Mit „Erinnerungssplittern eines deutschen Juden an zwei Weltkriege“ (Ludger Heid) Meike Hoffmann, Nicola Kühn: Hitlers Kunsthändler. Hildebrand Gurlitt (1895-1956). Die Biografie (Wolfgang Kaufmann) Victor Klemperer: Warum soll man nicht auf bessere Zeiten hoffen. Ein Leben in Briefen (Ludger Heid) Magnus Brechtken: Albert Speer. Eine deutsche Karriere (Ludger Tewes) Bernd Bonwetsch: Mit und ohne Russland. Eine familiengeschichtliche Spurensuche (Karl-Heinz Schlarp) Christoph Marx: Mugabe. Ein afrikanischer Tyrann (Ulrich van der Heyden)
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Gabriel, Ana Paula Dos Anjos. "J. S. Bach em português: a escolha textual de Furio Franceschini e Martin Braunwieser para a Johannespassion BWV 245." OPUS 24, no. 3 (December 20, 2018): 293. http://dx.doi.org/10.20504/opus2018c2412.
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A realização de performances em português de música coral estrangeira era prática bem estabelecida na cidade de São Paulo do início do século XX à década de 1960. Entretanto, as traduções caíram em progressivo desuso ainda na segunda metade do século XX, constituindo atualmente um repertório pouco discutido pelos estudos de performance e práticas interpretativas no Brasil. Nesse contexto, este artigo faz uma discussão crítica a respeito da presença de traduções para o português de obras corais nas práticas musicais brasileiras do século XX, a partir de performances em português da Johannespassion BWV 245, de Johann Sebastian Bach, feitas por Furio Franceschini e Martin Braunwieser em São Paulo entre as décadas de 1940 e 1960. Referenciada na história da performance musical enquanto campo, nossa discussão é fundamentada em um conjunto de fontes documentais relacionadas aos concertos e em bibliografia composta por Mahraun (2016), Stauffer (1997), Goehr (1992) e Doyle (1980). Tanto a investigação bibliográfica quanto a investigação documental mostram que o uso de traduções foi uma escolha interpretativa diretamente relacionada à concepção de obra dos próprios maestros, como também a tradições de performance desse repertório provenientes da Europa e das conjunturas culturais e políticas de âmbito local. Em última análise, este artigo evidencia a presença desse repertório em São Paulo, sua importância histórica, seu valor artístico e suas aplicações práticas, a despeito de um contexto de crescente autoridade da obra musical sobre as práticas musicais dos séculos XX e XXI.
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Koepke, W. "Johann Gottfried Herder. Aspekte seines Lebenswerkes. Herausgegeben von Martin Kessler und Volker Leppin. Berlin: de Gruyter, 2005. 437 Seiten + 3 Abbildungen. 118,00." Monatshefte XCVIII, no. 2 (June 1, 2006): 288–90. http://dx.doi.org/10.3368/m.xcviii.2.288.
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Meyer, Edward C. "Die Predigttätigkeit Johann Kaspar Lavaters (1741–1801): Darstellung und Quellengrundlage. By Klaus Martin Sauer. Zürich: Theologischer Verlag Zürich, 1988. 724 pp. SwF 180." Church History 59, no. 4 (December 1990): 602–3. http://dx.doi.org/10.2307/3169198.
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Coignard, Tristan. "Le lecteur du XVIIIe siècle face au canon antique. Johann Caspar Lavater, Christoph Martin Wieland et la notion d'« idéal » chez les Anciens." Études Germaniques 247, no. 3 (2007): 587. http://dx.doi.org/10.3917/eger.247.0587.
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Wangermann, E. "Shorter note. Johann Lorenz Mosheim 1692-1755. Theologie im Spannungsfeld von Philologie und Geschichte. Martin Mulsow, R Häfner, F Neumann, H Zedelmaier (eds)." English Historical Review 114, no. 457 (June 1999): 724–26. http://dx.doi.org/10.1093/enghis/114.457.724-a.
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