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Die Bedeutung des Prinzips der Anschaulichkeit wird im Zusammenhang mit Planung und Durchführung einer Unterrichtssequenz zu Johann Wolfgang von Goethes „Faust. Der Tragödie erster Teil“ herausgestellt. Dabei wird besonderes Augenmerk darauf verwendet, die Relevanz dieses Prinzips auch und gerade für die gymnasiale Oberstufe nachzuweisen.

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Robert Schumann's dramatic music remains, for the most part, undiscovered and therefore performed infrequently. Genoveva, Das Paradies und die Peri, Manfred, and Scenen aus Goethes Faust are comprised of some of Schumann's most beautiful music from his last stylistic period. Schumann envisioned a national German opera that had a complete union of text and music and a plot based upon the supernatural and mythical German legends. His lofty aspiration was to raise the dramatic music of his time to the high standards of the literary culture. Composing dramatic music for Goethe's Faust was a challenging endeavor for Schumann. Scenen aus Goethes Faust was a project that he struggled with from 1844-1853 because of both the text and the grand scale of the piece. One purpose of an analysis of the structure and content of Schumann's Scenen aus Goethes Faust and Goethe's poetry is to facilitate the solo vocal performer's interpretation. Utilizing selected scenes from Scenen aus Goethes Faust; "Scene im Garten" from Part I, "Sonnenaufgang," and "Mitternacht" from Part II and "Hier ist die Aussicht frei" from Part III, this research paper will define important recurring musical motives, assess Schumann's usage of contrasting vocal genres and their relationship to the unfolding drama, explore important vocal performance issues for the baritone and soprano soloists and investigate the manner in which Schumann uses the orchestra to depict and communicate the meaning of Goethe's text. Schumann's method of setting Goethe's text will also be examined, as the ability to comprehend the poetic text was of primary importance.

Die Bedeutung des Prinzips der Anschaulichkeit wird im Zusammenhang mit Planung und Durchführung einer Unterrichtssequenz zu Johann Wolfgang von Goethes „Faust. Der Tragödie erster Teil“ herausgestellt. Dabei wird besonderes Augenmerk darauf verwendet, die Relevanz dieses Prinzips auch und gerade für die gymnasiale Oberstufe nachzuweisen.

Weit vor den Faust-Opern der romantischen Ära schrieb Johann Ignaz Walter seine Oper "Fausts Wanderungen und Höllenfahrt". Kann dieses Werk, später unter neuem Titel überarbeitet, als "erste Faust-Oper" gelten? Diese Arbeit erschließt vorhandene Quellen zu Walters Leben und seinem Opernwerk. Der Waltersche Faust wird inhaltlich und überlieferungsgeschichtlich vorgestellt. So ergibt sich eine Perspektive auf ein Opernwerk, das eine durchaus lohnende Wiederentdeckung für das heutige Opernrepertoire darstellt.

Franz Liszt composed his Two Episodes from Lenau's Faust between 1856 and 1861. The composer intended to portray two emotionally contrasting scenes from Lenau's Faust in a set for orchestra, the first being The Night Procession and the second The Dance in the Village Inn. Liszt created a duet version of the orchestral set, and also a solo piano version of The Dance in the Village Inn, known as the Mephisto Waltz No. 1. The set was not performed together due to the immense popularity of The Dance in the Village Inn but also due to an unfortunate publication history resulting in the pieces being published separately by Schuberth publishers, published years apart from each other. As a result The Night Procession is largely forgotten today and The Dance in the Village Inn is interpreted as a single work outside of its context in a set. In this dissertation the works are examined from within its context in a set. Background information includes information on Liszt's student Robert Freund (1852-1936), and a solo piano transcription of the orchestral alternative ending to The Dance in the Village Inn. A comparison between Liszt's orchestral, solo and duet versions of the Mephisto Waltz No. 1 and the Liszt-Busoni Mephisto Waltz No. 1 is also made.

Weit vor den Faust-Opern der romantischen Ära schrieb Johann Ignaz Walter seine Oper "Fausts Wanderungen und Höllenfahrt". Kann dieses Werk, später unter neuem Titel überarbeitet, als "erste Faust-Oper" gelten? Diese Arbeit erschließt vorhandene Quellen zu Walters Leben und seinem Opernwerk. Der Waltersche Faust wird inhaltlich und überlieferungsgeschichtlich vorgestellt. So ergibt sich eine Perspektive auf ein Opernwerk, das eine durchaus lohnende Wiederentdeckung für das heutige Opernrepertoire darstellt.

The theoretical thesis, which aims to find and compare different conceptions and interpretation of the life of Johann Wolfgang von Goethe. The interest of this thesis is centered on the interpretation of Goethe's relationship with his sister. Interpretation of the relationship of Goethe and his sister is based on two approaches, the psychoanalytic and historical approach. Psychoanalytic approach is represented by Sigmund Freud and Kurt Eissler, who offer interpretations of some aspects of the relationship of Goethe with his sister. Historical approach is represented by Richard Friedenthal and Astrid Seele. They submit biographical context of the poets life and also point to his relationship with his sister. On the basis of these sources are data analyzed within psychoanalytic theory. To explain Goethe's relationship with his sister is thinking about the form of their incestuous sibling relationship or oedipus complex.

This dissertation is devoted to the stage history of Goethe’s Faust I in Imperial Russia with the goal of initiating academic discussion of this previously ignored topic. The significance of this study lies not only in the fact that it enlarges our comprehension of the play’s treatment in the Russian context, but more importantly in its direct implications for earlier studies of Russian literature in relation to Goethe’s Faust. The dissertation records analytically dramatic productions of the play before 1917 and provides a bibliography of their production, performance and reception processes. The central premise of the dissertation is that theatre is a social phenomenon, informed by the contemporary setting in which it is produced and received. With this in mind, five distinctive adaptations are investigated with the goal of identifying the peculiarities of the play’s treatment and highlighting the influences of the socio-historical factors surrounding it. In particular, this study considers the dependence of the adaptation on contemporary theatrical conventions and explores the relationship between theatre, culture and the state in Imperial Russia. It argues that a successful adaptation of Goethe’s Faust I in Imperial Russia was delayed until the flourishing of ‘directorial theatre’, which in turn opened new possibilities for future theatrical explorations of the play. The analysis describes strategies of cultural appropriation and affirms the conformity and sensitivity of theatre to the state.