Wyniki wyszukiwania - Biblioteka Nauki

1

„Sammlung Ogoleit”: Goethe, Faust, Bauer. Zielonogórski fragment kolekcji gorzowskiego księgarza

100%

Nodzyńska E.

In Gremium. Studia nad Historią, Kulturą i Polityką

|

2016

|

tom 10

123-141

EN

Landsberg, Richtstrasse 8. The bookshop under the sign “Buch-Kunst-u. Musikalienhandlung”. Almost for fifty years, from the end of the 19th century until the year 1945 the above address was well known to all the lovers of the classical German poetry. This was due to the book seller and collector Wilhelm Ogoleit (1869-1953) who was able to gather the biggest in Brandenburg collection of memorabilia of Goethe and Schiller thus creating a private museum of the remembrance of the great “prince poets” of Weimar. The walls of the eight rooms of the Gorzów town house were decorated with painting, drawings and prints with the portraits of both poets and people working in culture who belonged to their circle. The collected pieces of art were presenting the illustrations of the literary works and the landscapes of the places relating to the biographies of the Weimar poets and other celebrities. The cabinets were displaying precious medals and plaques, the tables and the cupboards were displaying sculptures, busts and brick-a-brack, all of them signed “Sammlung Ogoleit”. The most precious artifacts included the patinated plaster head of Goethe sculpted by Klothilde Bauer-Rothmüller. The book lover, whom the owner of the collection definitely was, could not miss the library of books, first editions, manuscripts and letters. Among them there were the autographs and dedications from the pen of Goethe and one of the few heirlooms later saved from the war: the Goethe guest book. Ogoleit, a fervent advocate of the Goethean spiritual science, was seeking the meaning of life in the “eternal toil” which was the development of his fascination with the Goethe age and the circle of the Weimar artists. He was enlarging his collection over the years and it comprised 8800 items in 1945. He arranged a museum in his private flat where he hosted many inhabitants of the town and the visitors: actors, academics and musicians. He was famous for ceremonial guided tours which were about declamation and storytelling of literature and the times of the flowering of German philosophy and literature in the circle of Weimar court at the end of the 17th century. His enthusiasm and services in disseminating the cult of the German prince poets were noticed and awarded with the commemorative “Goethe Medal”. He received the distinction awarded by Hindenburg on his 65th birthday in 1934. Ogoleit was developing his collection through antique shopping in many German cities, mainly in Weimar, but also through personal communication with the artists of his times. The highest number of works was acquired from the Munich painter and printmakers Karl Bauer who is the author of the oil portraits of Goethe, a number of the poet’s images in a variety of different graphic techniques and a portfolio of ink drawing illustrating Goethe’s “Faust”. The Ogoleit collection was scattered and dispersed as a result of war. The work of destruction was completed by the fire in July 1945 in which the premises of the bookshop, private museum and the collector’s house – the town house at Richstrasse 8, now General Sikorski street, went up in smoke. The fragments of the collection which survived until now are treasured in the Lubuskie Jan Dekert Museum in Gorzów Wielkopolski and in two libraries in Zielona Góra: the Norwid Voivodship and Municipal Public Library and the University of Zielona Góra Library which owns the collection of 448 works stamped with the characteristic words “Sammlung Ogoleit”.

2

Norwid - Fern vom Trivium seiner Epoche

89%

Gehrisch P.

Roczniki Kulturoznawcze

|

2014

|

tom 5

|

nr 3

15-25

EN

About Freedom of Speech by Cyprian Norwid goes—like Goethe’s Faust—beyond the limits of intelligibility. “Maybe—as Heidegger claims—language requires much less hast for words, than deliberate silence.” The Polish poet cuts himself off from the canon of philosophical views—like a child who wants to discover the world in its own way, not to learn it by using knowledge and education, following the designated track. In his works Norwid abandons the canon of his epoch’s poetry and he, so to say, cuts across. He occupies an outstanding position on the background of contemporary European writers. The advocate of the motto: “art for art’s sake” Stefan Mallarmé and Norwid are definitely different as far as the attitude towards current events is concerned, however they are united in their willingness to go beyond the boundaries of the word. In Norwid’s works it is manifested by a constantly used technique of being silent and it culminates in incredible amazement and dazzle: “In this moment I touched the Resurrection with my finger / and I pronounced the word: I AM.” On the other hand, in Mallarmé’s output we deal with presenting internal images which subconsciously evoke musical vibrations. Norwid shares with Godfryd Benn the belief that the “ETERNAL MASTER” and the liberating knowledge of the Word play indispensable roles in history. On the other hand, what the Polish poet and Ezra Pound have in common are: an immense reading canon, great knowledge and extraordinary poetic images. The coming of the new epoch caused a distur-bance of the previous hierarchy of works and at the same time—as it is in Norwid’s case—a manifestation of what had not been noticed so far.

PL

Rzecz o wolności słowa Cypriana Norwida wykracza - podobnie jak Faust Goethego - poza granice zrozumiałości. „Być może - jak twierdzi Heidegger - język wymaga znacznie mniej pochopnych słów niż przemyślanego milczenia”. Polski poeta odcina się od kanonu filozoficznych poglądów - podobnie jak dziecko, które na własny sposób chce odkrywać świat, nie zaś poznawać go przez naukę i wychowanie, idąc wyznaczonym torem. Norwid w swych utworach porzuca kanon poezji swej epoki i idzie niejako na przełaj. Zajmuje on wybitną pozycję na tle współczesnych pisarzy europejskich. Głosiciel hasła „sztuka dla sztuki” Stefan Mallarmé i Norwid zdecydowanie różnią się, gdy chodzi o stosunek do bieżących wydarzeń, spotykają się jednak w dążeniu do tego, aby wyjść poza granice słowa. U Norwida przejawia się to w ciągle stosowanej technice przemilczenia, a kulminuje w niesamowitym zdumnieniu i olśnieniu: „W tym momencie dotknąłem palcem Zmartwychwstanie /1 wymówiłem słowo: JESTEM”. U Mallarmégo mamy natomiast do czynienia z przekazaniem wewnętrznych wyobrażeń, które podświadomie wywołują muzyczne drgania. Z Gotfrydem Bennem dzieli Norwid przekonanie o niezastąpionej w dziejach roli, jaką odgrywa „MISTRZ-WIEKUISTY”, i wyzwalającej wiedzy Słowa. Polskiego poetę i Ezrę Pounda łączy z kolei ogromny kanon lekturowy, wielka wiedza i niezwykłe poetyckie obrazy. Wraz z nadejściem nowej epoki następuje zachwianie dotychczasowej hierarchii dzieł, a zarazem – jak to jest w przypadku Norwida – wyłonienie się tego, co dotychczas było niezauważone.

3

Witkacy and Ghelderode: Goethe’s Faust Transformed into a Grotesque Cabaret

75%

Kiebuzińska C.

Estetyka i Krytyka

|

2013

|

nr 4(31)

207-220

EN

The farce, realistic and surrealistic, trivial and yet transfigured, is an essential expression of both Stanisław Ignacy Witkiewicz’s The Beelzebub Sonata and Michel de Ghelderode’s The Tragic Death of Doctor Faustus. Both plays were written in 1925, and the subtitle of each play informs that we are at a great distance from Goethe’s transcendent drama, for Ghelderode’s play is subtitled “ATragedy for the Music Hall” and Witkacy’s “What Really Happened in Mordovar.” This paper explores the deformation of any traces of Goethe’s tragic Faust, as each playwright situates his play in a grotesque cabaret. In both plays the Mephistophelian character has been deprived of his powers of negation, and instead as Diamotoruscant in Ghelderode’s version produces cheap tricks akin to those of Goethe’s “Witches Kitchen” in the music hall. Not only do both playwrights ridicule the potential of a twentieth-century Faust figure, but they also mock Naturalism in the theater and in Witkacy’s play even the possibility of a Theatre of Pure Form.

4

Paul Valéry – the temptation of Mephistopheles

63%

Tomkowski J. , Tomkowski J.

Nauka

|

2021

|

nr 3

5

Źródła filozoficzne "Doktora Faustusa" Thomasa Manna

44%

Michałowicz Ł.

Studia Philosophiae Christianae

|

2012

|

tom 48

|

nr 2

65-86

EN

Thomas Mann’s novel Doctor Faustus contains many philosophical streams which play an auxiliary role to the main axis of the philosophical analysis. The fact that not only was T. W. Adorno the conceptual co-author of Mann’s work, but that the philosopher’s texts were also used, including the first part of his Philosophy of Modern Music, allows us to adopt the interpretative perspective of the novel that falls within the philosophy of the Frankfurt School. Such an interpretation does not only depict Dialectics of Enlightment by M.Horkheimer and T.W.Adorno as the basis for the Philosophy of Modern Music itself, but also reveals the way its ideas were used in Mann’s novel. However, deciphering the so-called “magic square” and its components that constitute the elements of Arnold Schönberg’s approach to composition, results in the deconstruction of the novel and enables one to draw the conclusion that Adorno also introduced Mann to the criticism of the Hegel system and the emerging concept of Negative Dialectics. Demonstrating the above mentioned sources leads to a new approach in the interpretation of the novel, as well as to an indication of the debatable solutions that Thomas Mann attempted to employ, based on the philosophies he made of use of.

PL

Powieść Tomasza Manna „Doktor Faustus” zawiera w sobie wiele nurtów filozoficznych spełniających jednak rolę służebną wobec głównej osi filozoficznej analizy. Fakt koncepcyjnego współautorstwa T.W.Adorno w powstaniu dzieła T. Manna oraz wykorzystania tekstów tego filozofa, w tym głównie pierwszej części „Filozofii nowej muzyki”, pozwala na przyjęcie perspektywy interpretacyjnej powieści w obrębie filozofii Szkoły Frankfurckiej. Taka interpretacja nie tylko ukazuje „Dialektykę oświecenia” M. Horkheimera i T.W. Adorno jako podstawę samej „Filozofii nowej muzyki”, ale też sposób wykorzystania zawartych w niej idei w powieści Manna. Natomiast odczytanie tak zwanego „kwadratu magicznego” i jego składowych stanowiących elementy metody kompozytorskiej Arnolda Schönberga dekonstruuje powieść i pozwala wyprowadzić wniosek, że Mann został wprowadzony przez Adorno również w krytykę systemu Hegla i rodzącą się koncepcję ‘dialektyki negatywnej’. Wykazanie tych źródeł prowadzi do nowej interpretacji powieści oraz wskazania problematycznych rozwiązań, których Tomasz Mann podjął się na gruncie eksploatowanych filozofii.