1889 the Weimar Theatre intendant invited Richard Strauss to join the staff of the Hofoper as second Kapellmeister. Weimar was a tempting proposition for the recent convert to the New German School. The Lisztian effect was soon make itself felt in Strauss symphonic works. His Liszt studies were crucial to his musical development. Weimar offered him the opportunitiy to translate theory into practice. Liszt's orchestral music had been largely shunned and despised in the great tratidional performing centres of Europe during his life-time. He occupied a more commanding position in Munich's concert life (1894–99). In the Akademie season 1894–95 Strauss conducted in Berlin. He actively supported Liszt's music (Mephisto-Waltz, Die Ideale, Mazeppa, 2nd Piano Concerto). It was undoubtedly Liszt's perception of the complementary nature of form and expression that was attractive to Strauss. Form and content apart, Strauss's was also intrigued by Liszt's unconventional harmonic procedures and, by his indiviual style of orchestration. In 1898 Strauss moved to Berlin as erster königliche Kapellmeister at the Staatsoper. His modern concerts (1910–1903) featured Liszt symphonic poems. His admiration for Liszt's music and its seminal impact upon his own work is beyound doubt. His devotion to the Lisztian cause is transparent and was enduring: witness his tireless and activities on behalf of the Liszt Gesamtausgabe. Strauss kept Liszt's orchestral works in the public domain by making them the focal point of his permanent repertoire (Graner Messe, Mazeppa, Mephisto Walltz, Les Préludes, Orpheus, Faustsinfonie etc.). Liszt's music was a life-long obsession for Strauss.
In world literature, the penal colony theme obviously has powerful ethical and political implications. Among the texts dealing
with this theme are Kafka’s “In the Penal Colony,” A. Solzhenitsyn’s The Gulag Archipelago and Richard Flanagan’s Gould’s Book of Fish. This essay first looks at the history of the sublime object—Gould’s fish—in relation to Foucault’s critique of “technologies
of the self” and “regime of truth.” Then, in the light of Benjamin’s concept of history and Agamben’s notion of “bare life,”
the author argues that Flanagan’s diagnosis of progress in the modernity project—his use of panopticonism, the construction
of a railroad and the Great Mahjong Hall in colonial Tasmania as symbols of modernization—offers us a window onto the past
through which we might redirect the future. Based on a materialist view of the change that Flanagan anticipates in colonial
Tasmanian social life, in its discussion of the questions of history and modernity—a colonial-imperial British modernity and
a “glocal” modernity in Tasmania—this essay follows Benjamin in rethinking the boundary(-crossing) between world literature
and national literature.
of Biblical Theology]. Budapest.
Biblikus teológiai szótár [Dictionary of Biblical Theology]
PAPP, Richárd 1999: Van-e zsidó reneszánsz [Is there a Jewish Renaissance]. Remény 3 , 43-51.
Van-e zsidó reneszánsz