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Charles Jennens's collection of Handel's sacred oratorios from 'Saul' to 'Jephtha' : sources, contexts, and revisionsVarka, Natassa Elizabeth January 2019 (has links)
Charles Jennens (1700-1773), the librettist of 'Saul', 'Messiah', 'Belshazzar', the final part of 'L'Allegro, il Penseroso ed il Moderato', and probably 'Israel in Egypt', amassed a huge library of music that forms the bulk of what is now known as the Aylesford collection. Jennens's collection of Handel's music was unique among those of his contemporaries, not only because it includes part-books, but also because it is unusually comprehensive. The dissertation focuses on his copies of the sacred oratorios beginning with 'Saul' (1739) because most of the collection was copied in the 1740s, the sacred oratorios were the works that Jennens was most interested in, and 'Saul' was his first collaboration with Handel. As many of these manuscripts have not been the focus of modern scholarly attention, I first establish how, when, and by whom each manuscript was copied, in order to achieve a greater understanding of how and when Jennens assembled his collection, and what his reasons were for doing so. This close study of the manuscripts reveals that Jennens made extensive alterations to the verbal text, the structure, and the music of several oratorios in his collection. His amendments to 'Saul' and 'Belshazzar' shed light on his collaboration with Handel; and his amendments to 'Samson' and 'Joseph and his Brethren' provide insights into his attitude to Handel in the mid-1740s, his approach to word-setting, his views on the adaptation of Scripture for oratorio, and his beliefs and commitments. Jennens was a highly educated man whose activities were informed by two deeply held, conflicting allegiances: to the Anglican Church and to the deposed Stuarts. An examination of how he harnessed Handel's music to deliver his religious and political messages leads to a richer and more profound understanding of the works, of the relationship between Jennens, Handel, and Handel's music, and of their place in the religious and political context of the mid-eighteenth century.
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Furcht und Zittern : eine Untersuchung zur Funktion der akuten Belastungsreaktionen von König Belshazzar in Daniel 5 / Fear and trembling : an investigation into the function of the acute stress reaction of King Belsazar in Daniel 5Neumann, Kai 02 1900 (has links)
Text in German, summaries in English and German / Diese Arbeit beschäftigt sich mit dem Bericht über König Belsazar in Daniel 5. Wäh-rend eines Trinkgelages erscheint eine Hand, die eine Botschaft an die Wand schreibt. König Belsazar ragiert mit Entsetzen auf die Schrift. Hierbei werden fünf körperliche Reaktionen beschrieben, die als „Akute Belastungsreaktionen“ identifi-ziert werden. Es stellt sich die Frage, weshalb die „Akuten Belastungsreaktionen“ so deutlich vom Erzähler berichtet werden.
Anhand der Literaturwissenschaftlichen Bibelauslegung wird dargestellt, dass die fünf „Akuten Belastungsreaktionen“ von Belsazar Teil eines rhetorischen Stilmittel sind, das den König denunziert.
Mit Überprüfung des Danielbuches wird dargelegt, dass die Reaktionen von Belsazar in dieser komprimierten Form besonders sind. Sie stehen jedoch im Kontext der vie-len „Akuten Belastungsreaktionen“ des gesamten Buches. Eine umfangreiche Über-prüfung des gesamten alttestamentlichen Kanons zeigt, dass viele Bücher von „Akuten Belastungsreaktionen“ berichten, jedoch nicht in der Anzahl wie beim Da-nielbuch. Zudem kann dargelegt werden, dass die „Akuten Belastungsreaktionen“ kulturell anerkannt waren, jedoch auch polemisch verwendet wurden.
Es wurde festgestellt, dass die Verwendung von „Akuten Belastungsreaktionen“ in alttestamentlichen Texten variable Funktionen haben, die auf die Intention des Er-zählers zurückzuführen sind. Hierbei werden die Protagonisten charakterisiert und die Sympathie des Lesers gelenkt. / This dissertation explores the narrative concerning King Belshazzar in Daniel 5. Dur-ing a banquet, a hand appears and writes a message on the wall. King Belshazzar’s reaction is one of horror. In the narrative we can find five physical reactions which can be identified as “acute stress reactions”. The question of this dissertation is, why does the author describe these “acute stress reactions” in such an explicit way?
Using the methodology of new literary criticism, it is shown that the five “acute stress reactions” of Belshazzar are a part of a rhetorical stylistic device to denunciate the King.
A broader look at the Book of Daniel shows that although the compressed nature of Belshazzar’s reaction is quite unique, it exists within a wider context which contains many similar “acute stress reactions”. A comprehensive examination of the whole Old Testament canon shows that many books contain descriptions of “acute stress reac-tions”, but none are comparable to the Book of Daniel. It can also be shown that the “acute stress reactions” as such were culturally acceptable but can be used by the author to create a polemic effect.
This dissertation shows that the use of “acute stress reactions” could be employed for various functions according to the intentions of the Old Testament authors. They can be used to characterize a given protagonist and thereby direct the sympathies of the reader. / Old Testament and Ancient Near Eastern Studies / M. Th. (Old Testament)
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