Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 3

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  reception history
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Content available remote

Giulio Cesare in Egitto am Wiener Kärntnertortheater im Jahre 1731. Ein Beitrag zur Rezeption der Werke von G. F. Händel in der Habsburgermonarchie in der 1. Hälfte des 18. Jahrhunderts

100%
Perutková J.
Hudební věda (Musicology)
|
2012
|
vol. 49
|
issue 1-2
95-122
EN
The goal of the study is to present certain Händel sources that are unknown or have not yet been researched and to investigate the connection of those sources with the capital city of the Habsburg Monarchy, Vienna. At the center of attention is a performance of a pasticcio of Giulio Cesare in Egitto at the Theater am Kärntnertor in Vienna (Kärntnertortheater) in 1731. The study introduces the printed libretto, which has heretofore been regarded as lost, as well as the score of the work that L. Bennett first brought to light. The rediscovery of the libretto has made possible the comparison of these two sources. Also brought to attention is a copy of a collection of arias from this pasticcio that is held in Bratislava. There is furthermore presentation of certain possibilities regarding the identity of the probable compiler of the pasticcio, the composer Francesco Rinaldi, whose three extant operas premiered in Vienna date from the years 1730–1732. Reference is made in the study to the increased interest in Händel’s works in Vienna around the year 1730, and in connection therewith, reference is also made to a Viennese copy of his opera Admeto, which is kept in Meiningen. The study also asserts that at least one of the scores of Händel’s Agrippina held in the Musiksammlung der Österreichischen Nationalbibliothek had been the property of Count Johann Adam von Questenberg.
2

The Reception of C. S.Lewis in Post-Communist Romania

100%
Conţac E.
Linguaculture
|
2014
|
vol. 2014
|
issue 2
123-141
EN
This paper presents the circumstances surrounding the publication of the Romanian translations of C. S. Lewis’s best known works. In the first part, the author gives information about the Romanian authors who were acquainted with Lewis’s writings during Communism, when the translation and printing of books on religious topics was under the tight control of a totalitarian government. In spite of that control, two Lewis titles-The Lion, the Witch and the Wardrobe and Mere Christianity-which were translated in the US, were smuggled into Romania. The second part of this paper deals with the remarkably changed situation after the emergence of a new regime in 1990. Since then Lewis’s books have been published, often in multiple print runs, by secular as well as Christian publishers, with a total of 12 fiction and 13 non-fiction titles, indicating a wide popular reception of his work.
3
Publication available in full text mode
Content available

Poczet królów polskich i bajka lafontenowska w moralizatorskim dziele osiemnastowiecznej literatury szwedzkiej

72%
Zillén E.
Prace Polonistyczne
|
2014
|
vol. 69
131-143
EN
The paper elucidates a work of Early Modern Swedish literature, entitled Polska Kongars Saga och Skald [Saga and Song of Polish Kings] and published anonymously at the royal printing house in Stockholm in 1736. This book is remarkable in several respects. In 51 chapters it portrays the rulers of Poland, from the legendary founder of the nation, Lech I, up to Stanisław Leszczyński, still in power in early 1736. The chapters are composed in a similar way, each of them containing an engraving of the monarch, a historical sketch in prose, and a concluding comment in verse. The paper starts off by discussing the attribution of Polska Kongars Saga och Skald, an issue on which Swedish and Polish scholars have held divergent views. The dispute is settled here by identifying the author as the Stockholm clergyman and occasional poet Johan Göstaf Hallman (1701–1757). The main focus of the paper, however, is an investigation of the work’s verse comments. It is argued that the delineation of Poland’s sovereigns is used primarily as a stock of exempla, being explained in terms of virtues and vices in the poems closing the individual chapters. In particular, the chapters on the medieval rulers Bolesław V (Bolesław Wstydliwy) and Ludwik I (Ludwik Węgierski) are scrutinized. As moralizing comments on the historical events, these chapters employ verse fables by Jean de La Fontaine, rendered in Swedish. With his faithful verse translations of “Le Loup & l’Agneau” and “L’oeil du Maître”, Hallman enriches the initial phase of La Fontaine reception in Sweden, which took place, it is shown, several decades after the earliest reception of Fables choisies, mises en vers in Polish. Of even greater significance, though, is the fact that the two French fables, both of them highly aestheticized according to the taste of Classicism, in the context of Poland’s history are given a clearly moral-didactic function by the Swedish clergyman. Hallman thereby inverts the most groundbreaking contribution of La Fontaine to European fable history.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.