Künzli , A. & Ehrensberger-Dow , M.
2011 . Innovative Subtitling: A Reception Study . In: Alvstad , C. , Hild , A. & Tiselius , E. (eds) Methods and Strategies of Process Research: Integrative Approaches in Translation Studies
) by Zoltán Székely (1925). Four of these recitals also featured performances of his String Quartets no. 1 and no. 2 (BB 52, 75). In this paper, I will document the American reception of Bartók’s violin music during his U.S. recitals of early 1928
In the framework of an European program that I direct — which is devoted to the enhancement of the humanist heritage of the Upper Rhine region (Southern Germany, Northern Switzerland and Alsace), that is the humanistic editions of the Greek and Roman authors held by the libraries —, a curious work to be found in the University Library of Basel has come to my attention. Indeed, I would like to speak about some aspects of the humanist reception of Virgil and more specifically of his Bucolica, concerning the form as well as the content.
it to Strauss in his work Moderner Geist in der Deutschen Tonkunst , published in 1901. 79 Occasionally, the “pan-German” reception of Mahler’s music explained its “otherness” through the composer’s environments: having been born and spent long
several venues in Pest. Plate 3 Liszt, Wagner and Beethoven Reproduced by kind permission of the Franz Liszt Memorial Museum and Research Center, Budapest 4 THE RECEPTION OF THE NINTH SYMPHONY IN THE HUNGARIAN PRESS The premiere of Beethoven’s Symphony No
– Simone Weil
Any act of reception struggles, particularly when trying to gain access to the past. Against this backdrop G. E. Lessing was speaking about bridging the ‘revolting, broad ditch’ referring to modern readers trying to
Among the many references to Byron in the Twice-Told Tales and Mosses from an Old Manse, the most elaborate and entertaining are found in “P.’s Correspondence,” first published in the Democratic Review, April 1845. References to Byron in “The Seven Vagabonds” (1833), “Passages from a Relinquished Work” (1834), “Sketches from Memory” (1835),
“A Virtuoso Collection” (1842), “The Procession of Life” (1843), “Earth’s Holocaust” (1844), contribute further to the critique
of Byron and provide a matrix for analyzing the Byronic elements in The Scarlet Letter (1850) and more especially in The Marble Faun (1860). This essay draws from the novels and tales, as well as the letters, in constructing a coherent account of Hawthorne’s
reception of Byron. Key elements in his reception were Byron’s struggle against his Calvinist background; his violation of
moral standards; his representations of forbidden love and the noble outlaw with a guilty past; his exile in Italy and his
conjuring of Italian intrigue. These are also key elements in Hawthorne’s own tales and novels, especially those written during
Hawthorne’s stay in Rome and Florence from 1857 to 1859.
. 467 – 468 . Szilasi László : Az idegen zamat. Kitekintés: egy idegen nyelvű recepció tanulságai [The foreign flavour. Outlook: lessons from a foreign-language reception] . In: Szilasi László : A selyemgubó és a „bonczoló kés” [The Cocoon and the
The reception of the works of George Eliot in Hungary offers an interesting perspective from which to rethink some of the fundamental questions of reception theory and the interrelationships between political and social contexts and attitudes towards works of literature. Furthermore, shifting responses to Eliot illustrate the significance of divergences in approach to translation in the canonization of a work of literature in another literary tradition.