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Music and Literature in German Romanticism.

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The interrelationship between music and literature reached its zenith during the Romantic era, and nowhere was this relationship more pronounced than in Germany. Many representatives of literary and philosophical German Romanticism held music to be the highest and most expressive, quintessentially Romantic art form, able to convey what cannot be expressed in words: the ineffable and metaphysical. The influence was reciprocal, with literature providing a rich source of inspiration for German composers of both instrumental and vocal music, giving rise to a wealth of new forms and styles.

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The essays in this volume are selected from papers presented at an international, interdisciplinary conference held at University College Dublin in December , and include contributions from Germanists, musicologists, comparatists, and performance artists. This interdisciplinarity makes for informed and complementary approaches and arguments. The essays cover not only the "Romantic" nineteenth century commencing with the early Romanticism of the Jena circle , but also look ahead to the legacy, reception, and continuation of German Romanticism in the modern and postmodern ages.

One might wonder whether this heightened concern with the relation between fatherhood and social stability was actualized by one of the most momentous symbolic patricides in modern history namely the execution of Louis XVI in Since social hierarchies were no longer supported by transcendental truth claims and since paternity could not take recourse to biological evidence, the position of the father had become shaky.

Efforts to fill the gap are numerous. During the drafting of the Napoleonic Code, for example, First Consul Bonaparte himself declared that it is now "the law that makes fathers" Martin Where the law fell short, literature came to its aid.

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In Johann Wolfgang von Goethe's novel Wilhelm Meisters Lehrjahre, the foundational text of the genre of Bildungsroman, the bond between paternity and social stability is particularly strong. Surprisingly, the reception history of Wilhelm Meister has paid little attention to the many ways in which the text struggles to remedy ambiguities of patrilineal descent.

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Mignon : aus Goethes "Wilhelm Meisters Lehrjahre."

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Chapter 2: Archetype or Cliché? Goethe and the Child Singer Mignon in Wilhelm Meisters Lehrjahre

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