Dante’s Commedia and Goethe’s Faust, two classics of World literature seem worlds apart. One is a medieval work with deep religious connotations and an obsolete
poetics, while the other is a modern epic that deals with the predicament of the individual at the dawn of a new technological
and capitalist era. Yet, these differences are essentially historical and do not affect the way in which both works communicate
as poetic representations. At this level, in fact, they are very much comparable, as I will try to show. These two works have
in common not only the fundamental theme of the “quest for knowledge”, but they also share what is necessarily and inevitably
the representational mode of any great poetic work: the mode of allegory.
kontextusban . Budapest, 2011.
Vig 2012 = Vig István: Zuverlässigkeit älterer mehrsprachiger Wörterbücher am Beispiel des fünfsprachigen Dictionariums von Faust Vrančić. Studia Slavica Hung . 57 (2012): 253
The article offers a definition of the concept of anti-modernity, based at first on Antoine Compagnon’s 2005-volume Les antimodernes, de Joseph de Maistre à Roland Barthes. The role of the mundane sociability of the aristocracy, returned from emigration, and of the aesthetic culture of political legitimism is examined in the acclimatization process of German Romanticism in France during the Empire, the Restoration, and the first years of the July Monarchy. A hypothesis is proposed about the connections between Liszt’s interpretation of the Faust myth as it is exposed in the poems of Goethe and Lenau, on the one hand, and the political, aesthetical, and ideological resistance of French artists from the first half of the 19th century, directed against modernity, liberal individualism, the upheavals of the 1789 Revolution, and the rationalist constructivism of the Enlightenment, on the other. A survey of the aesthetics of negativity and its musical implications in Liszt’s compositions inspired by Faust reveals that the composer distanced himself from the “naive modernism” (Compagnon) of many of his contemporaries and came close to the flamboyant aesthetic of Chateaubriand’s Christian Vanity as well as to the scepticism, related in our post-modernist era with the idea of progress and of the completed work. Thus, Liszt’s relationship to the myth and the character of Faust becomes much more complex and ambiguous than it usually appears in the French literature, where Liszt’s view on the Faustian freedom is associated systematically and rather simplistically with the modern and liberal process of the individual’s emancipation.
The five-language dictionary of Faust Vrančić is the first one which includes separate Croatian word entries. As in the sixteenth century there was no standard Croatian orthography, that of Faust Vrančić is worth studying because the dictionaries influenced the orthography of their users. In the present article, the author examines eight letters signifying consonants. For these letters, there cannot be any precedent in the phonetic and orthographic system of Latin. First of all, the graphics of the letters is presented and the graphemes of Hungarian origin are identified. These latter can be divided into two groups: firstly, the letters loaned by Vrančić from Hungarian-language writings directly, and secondly, those which, although being of Hungarian origin, were taken from the Kaikavian Croatian books printed before the publication of the dictionary. Contrary to the opinion widespread in Croatian scholarly literature, for his work Vrančić did not invent any new letter but consciously selected graphemes extant in other languages.
paradigms are rare in general; besides my own work ( Faust 2017a ; Faust & Lampitelli 2020 ), I am only aware of Chekayri & Scheer (2003), which treats Classical Arabic, a language with no native speakers. To be sure, the forms in this paper have all been
Der Vergleich der beiden Werke begann nach dem Erscheinen des Fragments in den 1790er Jahren. Nach kurzer kritikgeschichtlicher
Durchsicht der ersten Jahrzehnte stellt die Studie die Charaktereigenschaften von Dante, der den gewöhnlichen Weg der Begnadigung
geht und die von dem doppelseeligen Faust vor dem „Öffnen des Vorhangs“ dar. Im Falle vom letzteren erhielt das falsche Ich
eine kontinuierliche äußere Unterstützung vom bis zuletzt in seiner physischen Gestalt anwesenden Mephisto. Die edle Hälfte
seiner Seele blieb oft allein. Das eine Werk ist eine himmlische Vision, das andere ein irdisches Drama. Goethe beschäftigte
sich seit 1824 in seinen Gesprächen und seiner Korrespondenz immer öfter mit Dante. Die Suche und der heroische Kampf gegen
die Welt reichen für die Seligkeit nach dem Urteil eines Gottes aus, der unsere Welt nicht „nur von außen stieße“. „An der
Stelle“ des Verlangens nach Vergebung, das auf den ersten Blick in Faust fehlt, steht sein individuelles, von Irrtümen belastetes
Sendungsbewusstsein, das nichts anderes ist, als der Entschluss seines freien Willens, das Werk der Schöpfung durchzusetzen.
Im Subjekt gibt es keinen Gnadenmoment (wie bei Dante), dem die Handlung entspringen würde, sondern der Prozess der Handlung
selbst konnte vor dem Augenschein der Mater gloriosa zum Schluß gnadenwürdig werden. Diese Gnade ist eine Folge der Tat.
TESz = Benkő Loránd (szerk.): A magyar nyelv történeti-etimológiai szótára I–IV. Budapest: Akadémiai Kiadó, 1967–1984.
Vig 2007 = Vig István: Ungarischer Einfluss im kroatischen Schriftsystem von Faust Vrančić. Studia
China’s unparalleled economic rise in the past 30 years and the blistering social transformation associated with it has generated
immense interest globally in China as a nation. Regrettably, Western interest is still extremely narrow and restricted to
statistical economic data and the belief that social change in China and modernisation is driven exclusively by the forces
of globalisation, that is, economic forces, is widespread and little attention is given outside of specialist circles to the
new robust intellectual and artistic-creative energies underlying China’s transformation and self-invention since 1978, identified
by Deng Xiaoping as absolutely essential for China’s modernisation program. Bootleg Faust (Daoban Fushide, written by Shen Lin of the Central Academy of Drama, <cite>1999</cite>), the ambitious staging of the translation-adaptation-deconstruction of the German classic by Meng Jinghui, China’s leading
experimental theatre director on January 1, 2000 to welcome the New Millennium (and to celebrate the 250th anniversary of
Goethe’s birth) is a remarkable artistic achievement. The very fact that Goethe’s FaustOne and Two, completed in 1832, and rarely performed in its totality in German-speaking countries, can be staged in Chinese adaptation
for weeks, and to full houses in Beijing, Shanghai and other Chinese provincial centres and overseas is proof that the Luhanite
vision of a global village is no longer virtual, but real, just as real as Meng Jinghui and Shen Lin’s theatrical professionalism
and genius to give Goethe’s signature work relevance in twenty-first century China. Some of the salient aspects of this theatrical
achievement and the socio-cultural significance of Meng and Shen’s irreverent artistic endeavour of deconstructing Goethe’s
Faust will be explored in this paper.