Diese fünf Ouverturen sind im „Schranck II“, der Sammlung des Instrumental-Repertoires der Dresdner Hofkapelle aus dem frühen 18. Jahrhundert überliefert. Die Form der Ouverturen-Suite als wesentlicher Teil des geselligen Musizierens des 17. und 18. Jahrhunderts nutzte die schon in der Renaissance verbreiteten Folgen von Tanzsätzen, wie sie an deutschen Höfen seit dem Beginn des 17. Jahrhunderts u.a. von Paul Peuerl, Michael Praetorius, Melchior Frank, Johann Hermann Schein, Samuel Scheidt oder Johann Staden erklangen. Aus der von den französischen Clavecinisten bevorzugten Folge von Allemande, Courante, Sarabande und Gigue entwickelte sich ein Standard. Johann Sigismund Kusser, Georg Muffat oder Johann Caspar Ferdinand Fischer übernahmen französische Anregungen, aus Opern einzelne Orchestersätze zu Ouverturen zusammenzustellen. Die Ouverturen von J. Ch. Schmidt waren Teil der Festkultur am Dresdner Hof. Eine Datierung zwischen 1710 und 1720, durch die Datierung der Wasserzeichen des Notenpapiers begründet, verweist auf eine Zeit, in der sich am Dresdner Hof die politische und finanzielle Situation nach der Niederlage Schwedens im Nordischen Krieg stabilisierte. Dadurch konnte der Hofkapellmeister Johann Christoph Schmidt (1664-1728) die Hofkapelle vergrößern und für vielfältige Aufgaben einsetzen. Das Ensemble L'arpa festante unter Leitung von Christoph Hesse hat bereits 2020 alle Ouverturen beim Label cpo Osnabrück eingespielt. Die dabei gewonnenen Erfahrungen sind für die Druckausgabe genutzt worden. Die CD wird, wegen durch Corona verursachten Verzögerungen, erst im kommenden Jahr erscheinen.

Das Magnificat in Es-Dur entstand im Mai 1724 und gehört zum Formular der Pfingstvespern. Es wurde am 4. Juni, dem Pfingstsonntag des Jahres aufgeführt. Das Interesse des Kurfürsten und polnischen Königs August II. an dieser Musik wird nicht sehr groß gewesen sein, da die Monate von Ostern bis September des Jahres 1724 für ihn fast ausschließlich mit den Planungen und der Realisierung des „Grünen Gewölbes“ ausgefüllt waren. Dagegen konnte Heinichen mit der ungeteilten Aufmerksamkeit des Kurprinzenpaares Friedrich August II. und seiner Gemahlin Maria Josepha rechnen, denen sein Stil sehr vertraut war. Denn er bediente beider Vorliebe für die venezianische Musik, die den Kurprinzen 1716 veranlasst hatte, Heinichen als Hofkapellmeister in Dresden zu gewinnen. Drei Jahre zuvor fand die Erstaufführung von Heinichens Missa primitiva statt. Zu Pfingsten 1724 wurde die Messe erneut gespielt. Das Fest stand in der damaligen Dresdner Hofkirche somit „ganz im Zeichen der Musik des Kapellmeisters“.

Pride and Prejudice has remained one of the most popular literary since it was published due to the concept of shifting social structure. Marriage is one of the most critiqued concepts by different scholars, giving their views on what would be the implication portrayed by Elizabeth Bennet and her influence on Mr. Darcy to marry for love. Marriage is considered the central theme of the novel as different characters engaged in various types of relationships. Among the female characters, Elizabeth proves that wealth and social standing are not mandatory advantages in the intricate state of marriage. Appropriately, I shall frame my discussion of Elizabeth’s situation in the context of Feminist Literary Criticism Theory. The theory advocates for a paradigm shift in women’s position in society. The research argues that Elizabeth is a forerunner of change. She survives the afflictions women faced in the eighteenth and nineteenth centuries in a male-dominated culture. Elizabeth contradicts other women characters in the novel who are more accustomed to social formalities. As a harbinger of change, she advocates for a feminist mindset and a transformation of the roles and positions of women in society. The multifaceted role that she plays in the novel normalizes the ideology that women deserve the same treatment as men and that they too can achieve their goals by deviating from gender norms imposed by traditions. / <p>Slutgiltigt godkännandedatum: 2022-11-14</p>

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Rhetoric, seen either as the art of persuasion or as the art of figurative expression, has been largely neglected as an approach to the poetry of the Romantics. The most important reason for this seems to be the rejection of rhetoric by the Romantics themselves. As a result of negative comments about rhetoric by Coleridge, Wordsworth, Shelley, and Keats, scholars seeking clues about the Romantics' literary principles in their critical writings have agreed that eighteenth-century rhetoric was either abandoned or substantially altered by early nineteenth century poets. The eighteenth-century belief that figures possess a unique power of communicating an author's passions and emotions continued to be transmitted as a viable literary tradition in the nineteenth century. Poetry was thought to have special privilege in the employment of rhetorical devices. In practice, if not in theory, early nineteenth-century poets did not abandon the use of such devices in their creations. An analysis of the role of rhetorical figures in the works of Coleridge, Wordsworth, Byron, Shelley, and Keats demonstrates that it is a mistake to envision the poetry of the Romantic movement as a spontaneous outgrowth of an abrupt shift in poetic taste, a shift which demanded the omission of classical poetic devices. Often the Romantic poets were more nearly in accord with the strictures of rhetoricians such as Blackwall or Ward than many of the Augustan poets had been.

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No description available.

The prominent division in early America between the established eastern populations and communities in the West is evident when viewed through the lens of eighteenth-century Philadelphia newspapers, which themselves employed an East-West paradigm to interpret four events: the Paxton Boys Incident, Regulator Rebellion, Shays's Rebellion, and Constitutional Convention. Through the choices of what words to use to describe these clashes, through oversights, omissions, and misrepresentations, and sometimes through more direct tactics, Philadelphia newspapermen revealed a persistent cultural bias against and rivalry with western communities. This study illustrates how pervasive this contrast between East and West was in the minds of easterners; how central a feature of early American culture they considered it to be.

<p dir="ltr">Historians reconcile events with stories that are told (or not told) about them. How does one narrative dominate while others fade away? This dissertation investigates histories of the colonies for change over time and addresses the differences and similarities between narratives written by colonists, foreigners, revolutionaries (or loyalists), and citizens of the new Republic. It examines the creation of colonial histories across the long revolutionary generation (roughly 1730-1830) to identify the cumulative development of a national narrative.</p><p dir="ltr">In chaotic times, people create a particular version of the past to navigate an uncertain future. When published, this interpretation hardens into history. My project illuminates and explains current gaps between colonial and revolutionary history. The colonial histories published during this time informed and shaped an emerging historical consciousness. These formative narratives reimagined the past to serve needs of the present and to define conclusions about their place in the world. In a time of division in modern American culture, it is imperative to understand this period in American history, as it represents the origin of many competing claims to the "true" goals of the Revolution that continue to reverberate in current times.</p>

This dissertation reexamines the music-theoretical writing of Georg Jospeh Vogler (1749-1814) in light of his educational background. His system, which is often characterized as "awkward" or "self-contradictory," is actually indicative of the rationalist/humanist preferences of Vogler's main source of training: the Jesuit Order. I argue that Vogler's theories and compositional style have been marginalized, partially due to their incompatibility with the more prevalent systems of his era, which were predominantly based in empirical modes of thought.