#hofmannsthal

[dooareyastudy]

Books I have read in January 2023 & my opinion on them !

Discours sur les sciences et les arts, Discours sur l’origine et les fondements de l’inégalité parmi les hommes & Discours sur l’économie politique, Jean-Jacques Rousseau, 1749 & 1755 | Mentally preparing to (re)read The Social Contract next month.

Carmilla, Sheridan Le Fanu, 1872 | Liked it! Kinda want to read more classics written in English!!

Mémoires, Louise Michel, 1886 | Very well written, a bit repetitive towards the end but really, what a woman ! Her writing shows just how full of life she was, even when she thought she had nothing left but a heart of stone after her mother died. I loved the descriptions of New Caledonia. Her ideas on revolution, especially the role of women - and life in general are still fresh. Really, the best book I have read this month.

Andréas and other stories, Hugo von Hofmannsthal, 1907-1927 | Nice short stories. The settings vary a lot so the atmospheres were very different but all of them were somewhat obscure and dark. I wasn’t a fan of Hofmannsthal’s poetry but those were much more to my taste!

The Stone Face,  William Gardner Smith, 1963 | I think this was recommended to me here but I am not sure. I didn’t like it as much as I thought I would. The theme of the book is brave and interesting, considering the Algerian war of independance is still a very touchy subject in France (a lot of ppl don’t call it a war). But the narration is so didactic the book felt like a moral lecture (which I don’t need as I am an adult capable of critical thinking and drawing nuanced conclusions). Some details are just unnecessary and weird and not making any of this believable. It takes a lot away from the ending, which is more interesting and touching. Overall, the statements the book makes are lacking nuance and depth.

Sur Lautréamont, Maurice Blanchot, Julien Gracq et J. M. G. Le Clézio, 1987 | Forgot how much I loved Les Chants de Maldoror, kinda want to read it again.

L’évenement, Annie Ernaux, 2000 | I don’t know what to  think of this. Some really beautiful parts, some I didn’t really like  (authors writing about them writing is not my thing at all, even if in this book, it doesn’t  come off as self-centered all the time).  The ending is more bitter than I expected, which I liked (I saw the  movie inspired by the book last year and the ending felt a bit fake). Maybe it’s the kind of book that will stay in my mind for longer than expected but I doubt it.  

Une histoire de la Révolution française, Eric Hazan, 2012  |  In short, a good synthesis of many different authors who worked on the  Frenc Revolution. It has the quality of displaying various  interpretations of historical events and sometimes adding new  interpretation. Not as complete as Soboul’s book, not a ton of the  author’s original ideas. I knew a lot of what is presented already but  it was still a good read.

#posting this a bit late #do reads #do read list #book #books #bookblr #book rec #books rec #book recommendations #book review #reading #reading journal #rousseau #jean-jacques rousseau #carmilla #le fanu #sheridan le fanu #louise michel #andréas #hofmannsthal #hugo von hofmannsthal #the stone face #william gardner smith #sur lautréamont #lautréamont #maurice blanchot #julien gracq #le clézio #l'événement #annie ernaux

[unjustlyunread]

from "The Letter of Lord Chandos", Hofmannsthal, trans. Hottinger, and the Sterns

("[am] loath to scare away the celestial shudders that still linger about the shrubbery in this neighbourhood!"

(same, bro, same))

#hofmannsthal #levelek és lelkek #poetry #the aesthetic reality #bright moments #erkenntnis-lyrik #from shore to shore #raft parable #far more and far less than pity #literature

[abellinthecupboard]

From a Train

(Hofmannsthal in Greece) He saw tumultuous plains, interminable plateaus, and the green breasts of a goddess withering in heat. He saw the last road carved into a slope of Parnassus, then into a petrified riverbed, curving between cones. Ruins and more ruins, thousands of boulders scattered like thoughts under the motionless pillars of a cloud. Flowering hedges and broken columns, a cornfield sprawled on its back like the Temple of the Gods, Delphi and the Delphic Plain, the flat stretch of millennia, stony cradle of a civilization that would not be rocked. He saw too black rams butting on a peak, masses of sheep cowering before the wolfish barking of dogs, a young shepherd with a lamp slung over his shoulders riding a red bicycle through a cypress grove. All day villages sparkled and disappeared, like lights fading on an open sea, or centuries passing, yet a couple undressed in the next compartment, a child slept, and twilight climbed over the mountains. He saw fires of the Ancients flaring in a granite body, Andromeda rising, a divinity that would not die out.

— Edward Hirsch, Earthly Measures (1994)

#From a Train #Hofmannsthal in Greece #Edward Hirsch #Earthly Measures #poetry #writing #Hofmannsthal #Greece

[musenundmuseen]

AI

Neulich musste ich an das rätselhafte Gedicht “Lebenslied” von Hugo von Hofmannsthal denken. Die erste Strophe lautet:

Den Erben lass verschwenden An Adler, Lamm und Pfau Das Salböl aus den Händen Der todten alten Frau! Die Todten, die entgleiten, Die Wipfel in dem Weiten, Ihm sind sie wie das Schreiten Der Tänzerinnen werth!

Ich kam auf die Idee, ChatGPT zu fragen, was es zu dem Gedicht zu sagen weiss. Hier unsere Unterhaltung:

ICH: Kennst du das Gedicht “Lebenslied” von Hugo von Hofmannsthal?

ChatGPT: Ja, ich kenne das Gedicht “Lebenslied” von Hugo von Hofmannsthal. Hier ist der Text des Gedichts:

Lebenslied

Ich lebe mein Leben in wachsenden Ringen, die sich über die Dinge ziehn. Ich werde den letzten vielleicht nicht vollbringen, aber versuchen will ich ihn.

Ich kreise um Gott, um den uralten Turm, und ich kreise jahrtausendelang; und ich weiß noch nicht: bin ich ein Falke, ein Sturm oder ein großer Gesang.

Hugo von Hofmannsthal war ein österreichischer Schriftsteller und Lyriker, der im frühen 20. Jahrhundert lebte. “Lebenslied” ist eines seiner bekanntesten Gedichte und drückt die Suche nach dem Sinn des Lebens und den Wunsch nach Vollendung aus. Das Bild des Kreisens um Gott und den uralten Turm vermittelt ein Gefühl von Kontinuität und einer spirituellen Reise. Die letzte Zeile lässt die Frage offen, welche Rolle der Sprecher in diesem großen Ganzen einnimmt.

ICH: Das ist zwar ein schönes Gedicht, aber es ist von Rainer Maria Rilke, nicht von Hugo von Hofmannsthal.

ChatGPT: Es tut mir leid für das Missverständnis. Du hast recht, das Gedicht “Lebenslied” stammt tatsächlich von Rainer Maria Rilke, nicht von Hugo von Hofmannsthal. Hier ist der korrekte Text des Gedichts:

Lebenslied

Ich lebe mein Leben in wachsenden Ringen, die sich über die Dinge ziehn. Ich werde den letzten vielleicht nicht vollbringen, aber versuchen will ich ihn.

Ich kreise um Gott, um den uralten Turm, und ich kreise jahrtausendelang; und ich weiß noch nicht: bin ich ein Falke, ein Sturm oder ein großer Gesang.

Nochmals Entschuldigung für die Verwechslung, und vielen Dank für die Korrektur. Rainer Maria Rilke war ein bedeutender österreichischer Dichter, der für seine lyrischen Werke bekannt ist. Das “Lebenslied” ist eines seiner bekanntesten Gedichte und drückt die Suche nach spiritueller Erfüllung und dem Streben nach Vollkommenheit aus. Die Metaphorik des Kreisens um Gott und den uralten Turm lässt Raum für Interpretationen und hinterlässt die Frage nach der eigenen Identität und Bestimmung.

ICH: jetzt hast du schon wieder das falsche Gedicht gebracht

ChatGPT: Es tut mir erneut leid für das Missverständnis. Es scheint, dass ich erneut einen Fehler gemacht habe. Entschuldigung für die Verwirrung. Tatsächlich gibt es kein Gedicht mit dem Titel “Lebenslied” von Hugo von Hofmannsthal oder Rainer Maria Rilke. Es tut mir leid für die inkorrekte Information in meiner vorherigen Antwort. Wenn du weitere Fragen hast oder Informationen zu anderen Gedichten benötigst, stehe ich dir gerne zur Verfügung.

Ich kann verstehen, dass die Software mit der deutschen Lyrik nicht so gut vertraut ist. Es wundert mich aber schon sehr, dass sie auch mit der Logik ein Problem zu haben scheint. Nachdem sie zugibt, einen Fehler gemacht zu haben, wiederholt sie einfach das Vorgebrachte und macht also den gleichen Fehler zum zweiten Mal. (Der Chat wurde mit der May 24 Version erstellt.)

#ChatGPT #Hofmannsthal #Rilke #Lebenslied #Lyrik

[pandaemoniumpancakes]

It is that the language in which I might have been granted the opportunity not only to write but also to think is not Latin or English, or Italian, or Spanish, but a language of which I know not one word, a language in which mute things speak to me and in which I will perhaps have something to say for myself someday when I am dead and standing before an unknown judge.

Hugo von Hofmannsthal, from ‘A Letter’ in The Lord Chandos Letter and Other Writings, trans. Joel Rotenberg.

#hugo von hofmannsthal #hofmannsthal #lord chandos letter

[henriduree]

Zitat d. W. 37

#Hofmannsthal #Biographie #dunkler Urgraund

[gregorovitch-adler]

My thoughts about The Private Life of Sherlock Holmes:

Let's start by summarising the movie -

No crime-solving happens in the first 34 minutes. The first act is all about Holmes and Watson's dynamic, exploration of the nature of their relationship with each other, etc. If you're the type of person who only watches/reads Sherlock Holmes for the cases, you'd believe this portion is skippable. Only the blink-and-miss detail about the "Midgets' case" is important as far as Holmes' detective work is concerned.

However, if you think exploring Holmes and Watson's interpersonal relationship and their casework are both equally important, like I do, the first act is GOLD. Most of the Tumblr gifs about this movie are from the first 30-35 mins lol.

1.) Holmes enters and they bicker like an old, married couple.

H: Oh, come now, Watson, you must admit that you have a tendency to overromanticize. You have taken my simple exercises in logic and embellished them, embroidered them, exaggerated them ---

W: I deny the accusation.

H: You have described me as six-footfour, whereas I am barely six-footone.

W: A bit of poetic license.

Not only is this whole scene just delightful in general but the theory about Watson being an unreliable narrator in ACD canon is actually being supported throughout the movie, starting right here.

--

W:It's those little touches that make you colorful...

H: Lurid is more like it. You have painted me as a hopeless dope addict - just because I occasionally take a five per cent solution of cocaine.

W: A seven per cent solution.

H: Five per cent. Don't you think I'm aware you've been diluting it behind my back?

This exchange was lovely. Way to slip in their closeness through a few words.

2.) Watson doesn't think it's odd to barge right in when Holmes is completely naked and taking a bath?

Also, why the hell does Holmes bathe with his bedroom door wide open?

And what's that thing he's taking a bath in called? Does anyone know about this stuff? Was this thing common in that timeline? It doesn't seem to fit a grown man like Holmes.

I have so many questions and I'm speechless at the same time. I'll just drop this here:

3.) Then Watson persuades Holmes to go to The Swan Lake ballet.

Watson enjoys that ballet, a little too much at that, mostly because he's staring at all the women on stage. (We'll get back to this later.)

Holmes on the other hand has dozed off. All he can admire about the most beautiful dancer, Petrova, is her strong arches. Which is... 🏳‍🌈

Then that whole scene about Nicholai and Petrova and Holmes in the dressing room. XD

Petrova offers a Stradivarius violin to Holmes in exchange for sleeping with her for a week, so that her child would be beautiful like her and brilliant like Holmes.

Holmes gets out of the situation by lying to both of them; saying he's in a relationship with Watson.

Honestly, that whole bit. Just look at the lines:

N: She has been dancing since she was three years old, and after all, she is now thirty-eight.

H: (gallantly) I must say she doesn't look thirty-eight.

N: That is because she is forty-six.

And:

Nicholai: (about Tolstoy) Too old --- Then we considered the philosopher, Nietzsche --

H: Absolutely first-rate mind ---

N: Too German --

Etc. They're all so funny. This whole scene is something else.

In fairness to Holmes, he did try to get himself out of the situation by lying about having hemophilia in his family, or saying that he's unromantic because he's English, etc but Petrova was having none of it.

Watson coming into the room all of a sudden gives so much clarity and calmness to Holmes. He just knows what to say to help himself because of Watson.

This unforgettable exchange:

N: You mean, you and Dr. Watson - He is your glass of tea?

H: If you want to be picturesque about it.

On a side note, I absolutely loved Nicholai's face journey throughout both scenes - in the dressing room, stuck in the middle of Holmes and Petrova's awkwardness, and later on when he asks about the alleged Holmes-Watson romance to Watson after having spread the rumour in the whole room.

I just loved his reactions a lot.

According to this movie-

Caprice of Mother Nature = Gay.

Half-and-half = Bisexual.

Watson comes to know about the rumour, after having had the time of his life with both men and women in the ballroom. Watson is pissed off, he goes home and confronts about the whole thing to Holmes.

They have a row at Baker Street, in which Watson is being extremely heteronormative again. Thinking too much about his reputation without stopping to question his own feelings and his weird fixation on Holmes' love life.

There's that famous line again:

W: Holmes, let me ask you a question. I hope I'm not being presumptuous -but there have been women in your life?

H: The answer is yes -- you're being presumptuous. Good night.

Awesome.

This marks the end of Act I.

The existence of these 33 minutes of the movie is proof that the writing team in this adaptation knows that exploring Holmes and Watson's characters and what they mean to each other is as important as Holmes' casework. Billy Wilder takes this seriously, even though there are some jokes here and there about it.

The whole of Act I is filled with raising questions about Holmes and Watson's preferences, etc. Does Holmes feel love or is he just a machine? Does Holmes feel love for Watson? Does Watson know about Holmes' feelings for him? Does Watson feel the same way about Holmes?

In my opinion, all the answers to the personal questions about Holmes are as clear as a day. What's really questionable is whether Watson knows and/or feels the same way about Holmes or not. Different viewers might draw different conclusions/inferences after watching this movie.

After this, the movie takes a turn because "Gabrielle" enters the picture, and the actual crime-solving begins from here. The tone becomes a bit more serious in this act.

A young woman, completely wet and in shock enters 221 B. Watson has to pay for her fare to the cabbie before he and Holmes take her upstairs to take care of her.

She can't remember anything at first, then from her wedding ring, Holmes gets to know her name: Gabrielle Valladon. Her husband's name is Emile Valladon.

She appears to have temporary amnesia because of getting hit on the forehead and almost drowning in the Thames.

She reveals info about herself that she's from Belgium, her husband was here in London for a job, they used to write to each other, and after some time, the letters from her husband stopped coming. She'd gone to the London police first after coming to this city. She says the police had advised her to consult Sherlock Holmes.

Now, this should make the viewer skeptical of her. Scotland Yard does consult Sherlock Holmes when they need him, but they aren't going to let him have the whole case if there's a situation like this.

Besides, that woman ending up at Baker Street specifically seems to be planned, anyway. Also, there's always this man who keeps waiting for her or someone else's signals on the outside.

I know what we see on screen comes from Watson's drafts on loose pages, but this movie's narration seems to be Third Person Omniscient POV to me. Where the viewer is privy to more information as compared to the characters.

The three of them keep looking for her husband's whereabouts, and she pretends to be helpless, needy, and fragile (to stroke the ego of the men around her, I believe. I mean that could be one of the reasons...) with temporary amnesia throughout most of the movie. Holmes and Watson don't suspect a thing about her as they keep working for her and she keeps sending cryptic messages to the "Trappists" (German government) with her parasol.

The thing I love about this act:

Ilse von Hofmannsthal aka Gabrielle Valladon is actually a competent character who happens to be a woman. We can see something shady is going on with her even though we don't know her real name, but one of the most brilliant people on the planet doesn't suspect anything. He thinks she's just a woman looking for her husband's whereabouts. He thinks her back story is real.

He keeps on thinking that until Mycroft basically tells him in the third act which is why we're able to see for ourselves that Ilse was genuinely able to outsmart Holmes. We don't have to be told by the narrative voice about Ilse's strengths (*cough* unlike BBC Sherlock and a lot of female characters written by Steven Moffat *cough*).

I, for one, felt respectful of Ilse or "Gabrielle" for real. It was quite refreshing to me after having watched some modern Holmes adaptations.

Holmes, Watson, and "Gabrielle" go looking for the cause of Emile Valladon's death after they've found his coffin in the graveyard, in the guise of having a picnic. Holmes and "Gabrielle" pretend to be a married couple - Mrs and Mr Ashdown, and Watson is their valet. The scenes after this point are delightful mainly because of Watson's reactions (which could be read as his jealousy over Holmes, too).

Also, me when Holmes calls Watson 'John' in an archaic Holmes adaptation:

Because of his sort of stupidity, Holmes takes Ilse, a German spy, right in front of the submersible (which he thinks is a mechanical 'monster' that lives underwater) in a boat, along with Watson.

Ilse was trying to grab as much information as she could about that secret project because she was working for her country. Who knew someone would show her the live version of that model so readily (albeit unknowingly)? :P

The three of them are obviously unable to find anything about Emile Valladon, so they go back to the inn room they're staying in.

That's when one of Mycroft's men comes to pick Holmes up and take him to his elder brother. Here's when the third act begins, I think.

Mycroft had warned Sherlock not to pursue "Gabrielle's" case any further during the second act. But Sherlock didn't listen, because a.) he's an empathetic man, and b.) Mycroft can't just order him to do or drop something just because. Sherlock is not a child anymore.

I know Mycroft was only trying to protect Sherlock, and that he couldn't have told him the real reason to stop him at that time, but still.

Either way, months of planning and testing the submersible have gone to waste because Holmes did not suspect at any point that his client, "Gabrielle Valladon" might have just been lying to him since the start. Can't blame Holmes for that. Ilse was meticulous.

Mycroft shows the model to the queen and she strongly disapproves of the model and curses it a lot. Personally, this seemed to be a shitty decision on her part, and I felt so frustrated and annoyed at her in that scene. She didn't even care to hear about its features. She just rejected it on the spot! :(

Mycroft decides to 'give the submarine' to the German government. It's implied that the Trappists were drowned along with the submarine itself in the deep waters. (That's what I gathered from that scene - correct me if my interpretation was wrong).

In conclusion, while Ilse is genuinely able to outsmart Holmes (unlike some writers forcing us to believe it in their adaptation because they told us so), the German government isn't able to go anywhere with the info they've gathered through Ilse because of Mycroft's last move. Moreover, the English government would have sent her to jail, if Sherlock hadn't suggested Mycroft send her back to her own country.

So, in the end, it's a lose-lose situation for all of them.

1.) Sherlock Holmes didn't know that Ilse was faking her name and her whole identity for a long time, so he unknowingly helped a German spy, thinking he was just helping an ordinary client. Ilse almost had him and the viewers could see for themselves that she'd outsmarted him.

2.) Even after Ilse von Hofmannsthal has got what she wanted for her government, as a spy, they aren't able to make use of that info because of Mycroft. And she has to get out of England anyway.

3.) Mycroft Holmes also fails, to some extent, because ages of effort to plan the submersible, hide the plans, and test the model in secret - all of it has gone to waste. The queen doesn't even want to hear him out in the end.

But even if it was a lose-lose situation, the battle was damn intriguing because of the high intellect on both sides - Holmes brothers and Ilse.

Months later, Holmes receives a letter from Mycroft about Ilse's arrest and execution by the Japanese government. Reading that, he's so moved that he can't even finish his breakfast. He gets up and asks Watson for his cocaine supply. Watson tells him, and then Holmes grabs the bag and goes to his room. Holmes shuts himself in, Watson gets up from the breakfast table too, sits beside the fireplace, and begins to write something on a piece of paper. Probably about the case, but for nobody to see.

End of Act III and the movie.

--

I loved the background score of this movie. It's quite touching and refreshing to listen to.

A lot of dialogue exchanges in the movie are so deep if you stop to think about them. It's unbelievable how much writers can convey through a few words. Some of them are quite funny too - particularly from Act I. There's a thin line between being funny and mocking, and TPLOSH didn't cross that. It was nice.

I love this portrayal of Sherlock Holmes. It's clear how deeply they've understood him from the original canon. Pretends to be dismissive and closed off but actually cares about everyone way too much.

I also liked Mycroft in this movie, even if he didn't have much screen time.

About Ilse von Hofmannsthal - I loved her. Seriously, this is how you write female characters, modern writers! People say ASIB is a direct adaptation of TPLOSH, which is true, but I'd prefer TPLOSH over that episode any day, and one of the reasons is the way the female lead has been written in the former. Not exactly a fan of how Moffat wrote her in his adaptation. He did her dirty, I'd say.

Characters like Ilse make me think that the writing team of this movie knew what feminism is. I can't say the same for the modern Holmes adaptation that has been heavily inspired by TPLOSH.

I loved the plot of this movie too. The case in itself was also pretty interesting and kept me hooked throughout. Even if it wasn't exactly resolved finally, and the ending was melancholic.

I wasn't expecting the movie to be this good. Which is why it took me so long to sit down and watch it.

I only have one complaint about this movie - Watson's characterisation.

I mean, Watson wasn't half as bad as I'd expected (I thought he was going to be horrible, based on the snippets of the movie I'd seen before), but still. I like how he doesn't fall into the bumbling idiot stereotype. As far as the casework is concerned, Watson is also quite competent and observant in his own right. He can handle the medical work too.

I've got problems with his heteronormativity, and the fact that when it comes to deducing what lies in Holmes' heart, he's dumb as bricks. It's annoying. Like, it's one thing if he doesn't feel the same way about Holmes, but he doesn't have to be so weird and homophobic about it. Also, I think Holmes should've told him about the truth related to Ilse and the 'mechanical monster'. I've had enough of 'keeping Watson in the dark for his own good', damn it! He should be more in the knowledge.

Watson's character was the only element in the movie that didn't receive justice from the writer. As a Watson-centric fan, I need this to stop happening in future Holmes adaptations. People should see more from his POV too, and stop to actually see where he's coming from, and properly understand his character in the next show/movie/whatever they make.

What I gathered from the movie about the characters and their interpersonal relationships-

Holmes is in love with Watson but doesn't admit it... for valid reasons this time. (side eyes at Watson's homophobia).

Watson is deeply attached to Holmes but sees him as a close friend. I wish he felt the same way about Holmes in this movie, but alas! Though if he doesn't feel that way about Holmes, why the hell does he seem so jealous of Ilse in Acts II and III? This is beyond me.

I think what they've tried to show is that Watson is too close-minded to confront his possibly repressed feelings for Holmes, deep within his heart? Maybe. It could very well be my wishful thinking lol.

But as far as Holmes' feelings for Watson are concerned, it's not even wishful thinking. It's just... right there. I wish the subtext about Holmes' pining were spelled out. I know why it couldn't (the Doyle estate was being a pain in the ass at that time), but still. It's quite clear what they wanted to write as far as Holmes' emotional side was concerned, but they dropped it from the scripts after Act I and decided to focus on the case instead.

Holmes is dismissive of 'Gabrielle' at first, but he becomes sympathetic for her after some time. He reaches out to help her with her situation, and as the plot moves forward, he grows affectionate for Gabrielle/Ilse, which is why he doesn't hold a grudge against her when he realises he's been outsmarted by this woman (even though his ego was mildly hurt for a while).

The way they maintained a balance between the plot and the characters is commendable. I love seeing well-written women in fiction and this movie showed me that.

I was surprised to see how good this movie turned out to be, as compared to my preconceived opinions. The Private Life of Sherlock Holmes has officially become my comfort movie now. Miles ahead of BBC Sherlock, in my opinion.

Thanks to my discussions with @jamielovesjam in a previous post about this movie lol. I wouldn't have wanted to watch the movie if not for the long talk I had with them. Also tagging @gaypiningshit and @helloliriels for further discussion.

End of my unnecessarily long rambling.

#sherlock holmes #john watson #holmes/watson #meta #the private life of sherlock holmes #TPLOSH #sherlock meta #my long ass review of a newfound favourite movie #movie review #gregorovitch being passive-aggressive #Ilse von Hofmannsthal #new blorbo acquired #strong female characters #a lovely movie overall #long post

[somehow---here]

Le buone maniere riposano su un doppio fondamento: dimostrare agli altri ogni attenzione, non imporre se stessi.

Hugo Von Hoffmannsthal, Il libro degli amici, 1922

#hugo von hofmannsthal

[aschenblumen]

¿De qué nos servirá haber visto tanto? Y aun así dice mucho aquel que dice noche, palabra que rezuma gravedad y tristeza como una miel espesa de panales vacíos.

—Hugo von Hofmannsthal, fragmento de «Balada de la vida exterior», poema antologado en Para un dios no nacido. Traducción de Fruela Fernández.

#hugo von hofmannsthal #para un dios no nacido #fruela fernández

[plrle]

so uhh i study german and our teacher asked us to make presentations about people who have written things in german, and i kind of have a Reputation™ of an opera nerd, so i was asked to make a Hofmannsthal presentation

she also wanted us to be original with visuals. and. uh

also this

HELP

#elektra #elektra hofmannsthal #opera #opera tag #richard strauss #hugo von hofmannsthal

[thatswhywelovegermany]

Werde durch Freiheit, was du durch Schicksal bist.

Become through freedom what you are through destiny.

Hugo von Hofmannsthal (1874 – 1929), Austrian writer, dramatist, lyricist, and librettist

#quote #hugo von hofmannsthal #not german #austrian

[schizografia]

Quando Hofmannsthal contempla l’agonia di un topo, è in lui che l’animale “digrigna i denti al mostruoso destino”. E non è un sentimento di pietà, egli precisa, ancor meno un’identificazione, è una composizione di velocità e di affetti tra individui completamente diversi, simbiosi, tale che il topo diventa un pensiero nell’uomo, un pensiero febbrile nello stesso tempo in cui l’uomo diviene topo, topo che stride e agonizza. Il topo e l’uomo non sono assolutamente la stessa cosa, ma l’Essere si dice dei due in un unico, in uno stesso senso, in una lingua che non è più quella della parola, in una materia che non è più quella delle forme, in un’affettibilità che non è più quella dei soggetti.

Deleuze & Guattari

#hugo von hofmannsthal #gilles deleuze #felix guattari #millepiani

[mote-historie]

1914 Léon Bakst, Costume Design for the Ballet ‘La Legende de Joseph’ by Hugo von Hofmannsthal and Harry Graf Kessler. 

Private collection. 

#1914 #costume design #léon bakst #leon bakst #1914 costume design #la legende de joseph #ballet #hugo von hofmannsthal #harry graf kessler #la belle epoque #art nouveau #art nouveau costume #bakst

[musenundmuseen]

Wien, Donnerstag, 21. März 2024

Staatsoper

Eine Vorstellung des Rosenkavalier besucht. In den Teilen, die den zweiten Weltkrieg überlebt haben, ist das Haus so opulent wie die Musik von Richard Strauss. Leider ist das nur 20 Prozent vom ursprünglichen Bau. Die Haupttreppe, die sogenannte Feststiege, gehört dazu.

#Wien #Staatsoper #Hofmannsthal #Strauss #Rosenkavalier

[sammeldeineknochen]

Es geht immerfort die Wahrheit an uns vorbei, die wir vielleicht hätten verstehen können, und die Frau, wir vielleicht hätten lieben können...

Hugo von Hofmannsthal: “Kreuzwege” in Ders.: “Das erzählerische Werk”, S.16

#hugo von hofmannsthal #hofmannsthal #kreuzwege #das erzählerische werk #wahrheit #verstehen #frau #liebe #vertane chancen #möglichkeit

[majestativa]

Fortunately I found myself amongst an elegant collection of beautifully bound books and poems by Swinburne, Mallarmé and Hugo von Hofmannsthal.

— Kurt Martens, The Dedalus Book of German Decadence: Voices of the Abyss, transl by Ray Furness and Mike Mitchell, (1994)

#German #Kurt Martens #The Dedalus Book of German Decadence: Voices of the Abyss #Ray Furness #Mike Mitchell #(1994) #Algernon Charles Swinburne #Stéphane Mallarmé #Hugo von Hofmannsthal