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H.E. Mr Mario Adolfo Búcaro Flores, Minister of Foreign Affairs of the Republic of Guatemala and Ambassador Fernando Arias, Director-General of the OPCW
I did this coloration for Till Lassmanns (www.till-lassmann.de) wonderful calendar. Drawing by him. It got rejected because it wasnt suited for kids. I wonder why...
Tourist makes contribution to silver alms bowel for Burmese (Myanmarese) women at roadsside, Dala Myanmar
Senior Enlisted Advisor to the Chairman of the Joint Chiefs of Staff Sgt. Maj. Bryan B. Battaglia greets GEICO Military Service Awardees at the Pentagon, April 28, 2014. The GEICO Military Service Awards Program spotlights enlisted members of the Armed Forces' contributions to the public good of the civilian and/or military community.
United Committee for African-American Contributions in St. Mary's County (UCAC) 8th Annual Juneteenth Celebration Festival at Freedom Park at intersection of Route 235 and Tulagi Place in Lexington Park, MD on Saturday, 18 June 2011 by Elvert Barnes Photography
Captain Stephen Schmeiser, Commanding Officer of Naval Air Station Patuxent River
Ceremony
Visit UCAC 8th Juneteenth Festival 2011 at
www.africanamericancontributions.com/juneteenth2011.html
Elvert Barnes Photography
Sorry about the last one. I guess I didn't understand the assignment. I hope this is correct. It's better if you crank up the volume BEFORE playing.
Hina Ichigo is trying to make a list of all released faceups thus far... I wanted to contribute, but the only doll I had she needed was sol. So, here he is! Sorry it took so long, hehe
My contribution to the canon of Blue Dasher (Pachydiplax longipennis) photos. I usually use a 100mm macro, but this will often not allow enough working distance for dragonflies--they tend to take off just as I get close enough. (That's why people like the 180mm macros, but I do not have one.) Today I put a 25 mm extension tube on my 300mm lens, giving it the ability to get about a 1:3-1:2 magnification--not quite macro, but good for large insects. The minimum working distance is about 3 feet from the front of the lens--usually enough to keep the dragonflies calm. (The lens gives a 1:4 magnification at about 4.5 feet without an extension tube--very good, but not quite enough for smaller dragonflies.) A tripod is very helpful for this sort of thing, and used in these shots. (I found a good used ballhead and that has made a world of difference in my ability to use the tripod--should have got one years ago. No more struggling with cheap tripod heads that won't stay on target!) I'm generally happy with the results, though there was a lot of wind today, and it was hard to focus when they perched on grass. This rig may help alleviate my occasional desire for a 180mm macro!
Contribution to Instruction #3 of Street Photography Now.
Taken on Wednesday October 20, 2010; Ottawa.
My contribution to the "Urban Garden" gift set of Chicago Style Crafters. Each is covered with a vintage gardening illustration and has a tabbed divider which reads "Correspondence" or "Miscellaneous" or "Lab". They contain light violet lined paper and will fit into a back pocket.
Morning Working Group on Carbon Contributions during Solve at MIT on May 9, 2017. (Photo Credit: Adam Schultz)
H.E. Mr Mario Adolfo Búcaro Flores, Minister of Foreign Affairs of the Republic of Guatemala and Ambassador Fernando Arias, Director-General of the OPCW
Taken at the Kasteeltuinen Arcen in The Netherlands.
kasteeltuinen.nl/de/besucherinformationen/neuigkeiten/332...
kasteeltuinen.nl/de/besucherinformationen/neuigkeiten/329...
My contribution: writing and formatting copy online using html, image preparation.
Contact: Kevin Fristad
See this page online at:
www.sinksgallery.com/ItemDetail.aspx?ProductCategoryId=0&...
While most known for his contributions in northern California, Bill Lane did have memories in Southern California. He visited his grandparents in Los Angeles -- his maternal grandfather was the former president of Drake University. Bill Lane attended Pomona College though graduated from Stanford. As told by former employees in Sunset's LA office, Bill Lane did live a bit in Los Angeles as he told stories of selling ads for Sunset Magazine from an office at the Clark Hotel. (More on Clark Hotel @ CurbedLA: la.curbed.com/tags/clark-hotel)
My friend Carmen organized a Sit-n-stitch to make contributions to the Uterus Flag Project which is currently on display at Carmen's library. The project by artist Terilynn highlights "craftivism" to provide a platform for discussing womens' health and the medicalization of womens' bodies.
Tiatr Academy of Goa (TAG) celebrates the Birth Anniversary of Pai Tiatrist - Joao Agostinho Fernandes on 14th December every year. TAG presented Lifetime Contribution to Tiatr Awards to tiatr artistes who have contributed immensely towards the development of tiatr stage. 14 such tiatr personalities are felicitated at the hands of Hon’ble Minister for Art & Culture, Shri. Dayanand Mandrekar. Veteran tiatr artiste, Smt. Josefina Dias was the Guest of Honour.
14 awardees are:
Rita Rose, Succurine Fizardo, Marcelino de Betim, Premanand Sangodkar,
Francis Xavier Mendes, Theo Alvares, John Gracias, Joe de Cavelossim’
Caetano Goes, Vincent de Nagoa, Cruz de Sanvordem, Tony Martins,
Remedios Fernandes (Remmie) and Farriol Coutinho (F. Mickey)
Pai Tiatrist Hall, Margao 14th December 2014
Premanand Sangodkar
To commemorate the contribution of the Indian Army to World War One, the United Service Institution of India and the British High Commission jointly hosted a historical seminar on ‘India and the Great War in Research, Memory and Commemoration - Indian contribution to WW1’ on Friday, 9 November 2018 in New Delhi.
The event was supported by the UK National Army Museum and featured guest academic speakers from India, UK, Canada and Australia.
Follow us on Twitter @UKinIndia
Picture Contribution 2: Supernatural Perspectives on Psychological Disorders
This is a metaphoric illustration I am very proud of, so I am more than happy to enrich our course content with it; my post on Padlet featuring this illustration received a very encouraging comment by a fellow student that further inspired me to offer this picture as part of future coursework. My illustration features a werewolf, which is a creature that was used by ancient people to explain psychological disorders, and can be included in the section on supernatural perspectives on psychological disorders. My illustration increases the diversity of our course content in three ways: providing a metaphor for the history of psychology, featuring a racially-diverse (no exact race specified, but clearly not a white male) character, and raising awareness about how those with psychological disorders were perceived in the past and urging society to improve our treatment of them.
Licensed under CC BY-NC-ND
Our contribution to the 30th Edinburgh International Science Festival. Paul Glendinning giving the vote of thanks.
Johann Christoph Friedrich Schiller , known as Schiller from 1802 (born November 10, 1759 in Marbach am Neckar ; † May 9 , 1805 in Weimar ), was a German poet , philosopher , historian and doctor . He is considered one of the most important German-speaking playwrights , poets and essayists .
Friedrich Schiller was the only son of a Württemberg officer who also worked as a surgeon and grew up with his five sisters in Schwäbisch Gmünd , Lorch and later in Ludwigsburg . There he attended the Latin school and, after passing the Protestant state examination four times, began studying law at the Karlsschule on January 16, 1773 . Three years later he switched to medicine and received his doctorate in 1780 [1] . With his theater debut, the play The Robbers , which premiered in 1782 , Schiller made a significant contribution to the drama of Sturm und Drang and world literature.
In 1782, now a military doctor, he fled from Württemberg to Thuringia from the sovereign, Duke Karl Eugen , because he was threatened with imprisonment and a ban on writing because of unauthorized removal from service . [2] In 1783, Schiller began work on Don Karlos . When his employment as a playwright at the Mannheim National Theater had expired, Schiller traveled to Leipzig in 1785 to visit his later friend and supporter Christian Gottfried Körner . In the following years he met Christoph Martin Wieland , Johann Gottfried Herder and Johann Wolfgang von Goethe in Weimar . Together they shaped Weimar Classicism .
In addition to his theater debut and Don Carlos , the historical dramas Wallenstein , Mary Stuart , The Maid of Orleans and William Tell are part of the standard German repertoire . As an author and theorist, he was a role model and counterpart for subsequent playwrights. In addition to his dramatic work, Schiller wrote numerous aesthetic treatises such as The Schaubühne regarded as a moral institution , On Grace and Dignity , On the Aesthetic Education of Man , On Naive and Sentimental Poetry and On the Sublime , in which he explained his poetics as well as literature through a to previously unknown depth of reflection showed new paths. His ballads are among the most famous German poems . His thought poetry and didactic poem are of equal importance.
Friedrich Schiller was a Württemberg native by birth, but later became a citizen of Saxony-Weimar . In 1792 he was granted honorary French citizenship and thus also French citizenship - in honor of his drama The Robbers , performed in Paris, which was understood as a fight for freedom against tyranny .
Origin, training and first successes
parents house
Birthplace in Marbach am Neckar on a chalk drawing by his grandson Ludwig von Gleichen-Rußwurm , 1859
Friedrich Schiller was born in Marbach am Neckar in 1759 as the second child of the officer , surgeon and head of the court gardener in Marbach am Neckar, Johann Kaspar Schiller , and his wife Elisabetha Dorothea Schiller , née Kodweiß, the daughter of an innkeeper and baker. Friedrich was two years younger than his sister Christophine , with whom he developed a close relationship. Four more sisters followed after an interval of six years; two of these died in childhood. Since the father got a job as a recruiting officer and worked in the imperial city of Schwäbisch Gmünd , the family moved to Lorch in 1764 . Shortly after Friedrich's second sister Luise was born in 1766, the family moved to Ludwigsburg . In the same year Friedrich entered the Latin school there . At the age of thirteen he wrote the plays Absalon and The Christians , both of which no longer survive.
By ducal order and against his parents' wishes, Schiller had to enter the Karlsschule on January 16, 1773 . When he joined, it was briefly called the “Military Planting School”, and 54 days later, on March 11, 1773, it was called the Military Academy and was then housed in Solitude Castle near Gerlingen (Württemberg) [4] and Stuttgart. Schiller first began studying law . The pupils were drilled militarily, which may have contributed to the fact that he was still a bedwetter at the age of fifteen ; He was punished severely for this twice. Schiller secretly sniffed tobacco and read forbidden writings with his comrades.
The oldest known portrait of Schiller is a silhouette that shows him as a student at the Hohen Carlsschule. The artistic ornamentation around the silhouette of the young Friedrich Schiller was created by the music publisher Heinrich Philipp Boßler . [5]
Study of medicine and employment as a regimental medic
Schiller as a regimental doctor 1781/1782, in a painting by Philipp Friedrich Hetsch
The Hohe Carlsschule in Stuttgart, colored steel engraving based on a drawing by Karl Philipp Conz
The military academy was moved from Solitude Palace to downtown Stuttgart on November 18, 1775. Schiller changed his field of study and turned to medicine . During this time he was captivated by the works of the Sturm und Drang poets and the poems of Klopstock . Friedrich Maximilian Klinger was particularly influential. [6]
“He [Klinger] was one of those who first and powerfully influenced my spirit; These impressions of youth are indelible.”
– Friedrich Schiller : Schiller's Cabal and Love. A study . [7]
In the same year he wrote the (now no longer extant) play The Student of Nassau. His first printed poem, The Evening, appeared in 1776. Schiller studied the works of Plutarch , Shakespeare , Voltaire , Rousseau and Goethe [8] . Also in 1776 he began work on the freedom drama The Robbers .
In 1779 he passed the first medical exams and asked to be released from the military academy to become a military doctor . His first polemic on the philosophy of physiology (1779) was completely rejected by the experts - professors and personal physicians of Duke Carl Eugen, who was present at the disputation . The reasoning was that this work had too much “fire” and that “the entire learned world” must feel insulted by Eleven Schiller. A relatively well-known example from this work is his refusal to acknowledge the fact, already proven at the time, that the canals of the inner ear are filled with fluids:
“Who would believe that clay, the greatest product of elasticity, is supplied to the spirit through water, which has the least elasticity?” [9]
It was only a year later, after another unsuccessful attempt with a dissertation on fever diseases, that he was awarded his doctorate. He now wanted to work as a doctor. [10] However, this was only granted to him in December 1780, after the publication of his dissertation Experiment on the connection between man's animal nature and his spiritual nature. In it, the young doctor reflected on the anthropologically justifiable connection between the emerging “ experiential soul science ” and a somatically oriented “pharmaceutical science”. Schiller was therefore considered one of the contemporary “philosophical doctors”, which already indicated his later development. [11] Schiller's friends since his youth included the doctor Friedrich Wilhelm von Hoven , [12] whom he had met at the Karls Academy in Stuttgart. [13]
Original uniform of the Augé Grenadier Regiment
Schiller, who had a doctorate in medicine, now joined the Ducal Württemberg Army as a regimental medic in Augé's Grenadier Regiment [14] (formed in 1767 from the two grenadier companies of the (5th) District Infantry Regiment Württemberg , also with von Augé as Regimental chief , as well as teams of the Grenadier Battalions 2, 3 and 4, which were disbanded between 1765 and 1767). He was probably dissatisfied with his professional situation from the start: Not only was his regiment's reputation supposedly not very brilliant, since, according to Schiller's description, it only consisted of "240 almost exclusively invalids and cripples". The comparatively meager salary of the regimental doctor was roughly equivalent to that of a prime lieutenant and, at 18 guilders per month (or 15 guilders in the 20-guilder standard ), only enabled a modest lifestyle. There was no realistic prospect of the situation improving in the future because of the lack of opportunities for advancement for military doctors at the time.
In addition, the Duke had refused his request to improve his earnings by treating civilians. Other Württemberg military doctors were allowed to operate civilian practices on a case-by-case basis, as well as to wear civilian clothing, which Schiller had asked the Duke to do. But he was also forbidden from doing this, even though Schiller's father had already had an expensive civilian suit made for his son. [15]
The robbers
→ Main article : The robbers
At Hohenasperg Fortress, Schiller met the poet Christian Friedrich Daniel Schubart , who was imprisoned there, who drew his attention to the robbers ' material. In 1781, Schiller completed his play, which was printed anonymously that same year. On January 13, 1782, The Robbers had their successful premiere at the Mannheim Theater under the direction of Wolfgang Heribert von Dalbergs . The piece sparked storms of cheers, particularly among the young audience - freedom-loving young people founded many “robber gangs” in southern Germany in the following months. Schiller was also present at the premiere with his friend Andreas Streicher and for this purpose he secretly left the Karlsschule without asking for official permission. When he traveled to Mannheim a second time four months later without a vacation permit, Duke Carl Eugen, as punishment, put the insubordinate poet under arrest for fourteen days in the Stuttgart Hauptwache (now built over, Königstrasse 29) [16] and forbade him any further contact with him ( Electoral Palatinate ) abroad.
Escape from Stuttgart
Schiller on the run with his friend Andreas Streicher
The anthology for the year 1782 was published at the beginning of 1782 with 83 poems, mostly written by Schiller. When a complaint was brought to the duke in August of the same year that Schiller and his robbers had denigrated Switzerland ( as he had one of the Graubünden robbers insulted as “Athen the crook” [ 17 ] ), the conflict between the sovereign and the author came to a head . Schiller was threatened with imprisonment and any further non-medical writing was banned. This made it finally impossible for Schiller, who had previously hesitated to flee out of consideration for his father, who was dependent on the Duke, to remain in Stuttgart. On the night of September 22nd to 23rd, 1782, while the Duke was giving a big party with fireworks in honor of the Russian Grand Duke Paul , the later Tsar, and his wife , a niece of Carl Eugen, Schiller took advantage of the moment and fled the city with his friend Andreas Streicher . With this step, Schiller took a great personal risk, as he had officially deserted as a military doctor . He first traveled again to Mannheim , where he presented Dalberg with his new drama The Conspiracy of Fiesco in Genoa . This was followed by trips to Frankfurt am Main , Oggersheim and Bauerbach in Thuringia. Streicher later described this time in his book Schiller's Escape from Stuttgart and Stay in Mannheim from 1782 to 1785.
Uncertain years 1783–1789
Friedrich Schiller
oil painting by Anton Graff , the first sessions took place in the spring of 1786, the portrait was completed in the fall of 1791. Schiller's right hand rests on a snuffbox. [18] The term Schillercollar became popular for an open shirt collar like the one Schiller wears here .
When rumors arose that Duke Carl Eugen was trying to have Schiller extradited , the poet, through the intervention of his student friend Wilhelm von Wolzogen (who married Caroline von Lengefeld in 1794 ), was given an inconspicuous asylum with his mother Henriette von Wolzogen in December 1782 with the pseudonym Dr. Knight in Bauerbach , Thuringia . Here he completed work on Luise Millerin and began the first drafts of Don Karlos . In the nearby residential town of Meiningen of the Duchy of Saxony-Meiningen, he met the librarian Wilhelm Reinwald during his visits to the court library of the ducal house . Reinwald provided Schiller with work materials and through him met his older sister Christophine Schiller , whom he married in 1786.
At the invitation of the theater director Dalberg, Schiller returned to Mannheim in July 1783 and took up the position of theater poet there in September . In the same month he fell ill with “nervous fever” ( malaria ), which was native to the then swampy Rhine Valley. In Mannheim he met Charlotte von Kalb . Fiesco premiered in January 1784 and the drama Luise Millerin premiered in April 1784, which had since been given the more popular title Kabale und Liebe on the recommendation of the actor August Wilhelm Iffland . In June 1784, Schiller gave a lecture to the Electoral Palatinate German Society in Mannheim on the question “ What can a good standing stage actually do?” “. [19] In December 1784, Duke Carl August of Saxe-Weimar , who had previously attended Schiller's reading of the first act of Don Karlos at the Darmstadt court, awarded him the title of Weimar Councilor. After a year as a theater poet in Mannheim, Schiller's contract was not renewed by Dalberg, which meant that Schiller's already precarious financial situation worsened and the highly acclaimed author almost ended up in the debt tower .
In April 1785, Schiller traveled to Leipzig to see Christian Gottfried Körner , who helped him out of his economic difficulties. The acquaintance with Körner, who published a complete edition of Schiller's works from 1812 to 1816, began in June 1784 with an anonymous letter with four portraits: Körner and his friend Ludwig Ferdinand Huber were from Leipzig with their daughters Minna and Dora Stock Copper engraver Johann Michael Stock (1737–1773) and were criticized for this inappropriate union by their upper-middle-class, authoritarian fathers. That is why the two brides and grooms were able to identify in particular with the portrayal of the inappropriate relationship in Schiller's drama Kabale und Liebe and expressed their unreserved admiration for his courageous dramas in the above-mentioned anonymous letter to Schiller: “At a time when art More and more degraded to the status of a cheap slave of rich and powerful voluptuaries, it is good when a great man appears and shows what man is still capable of even now." Schiller only replied to this letter six months later: "Your letters [...] hit home me in one of the saddest moods of my heart.”
The Schiller house on the Körner vineyard in Loschwitz near Dresden, where Schiller lived from September 13, 1785 to the summer of 1787
Don Karlos (then still called Dom Karlos ), title page and frontispiece of the first printing , 1787
After the happy encounter with his future friend Körner [20], the Ode to Joy was written in the summer and autumn of 1785 .
During his stay in Loschwitz, Schiller met the innkeeper's daughter, Johanne Justine Segedin , in a pub [21] in the village of Blasewitz across the Elbe , whom he later immortalized in Wallenstein's camp in 1797 as " Gustel von Blasewitz ". [22] In 1786 the story Criminals from Infamy appeared in the second issue of the magazine Thalia . A true story that was later published as The Criminal of Lost Honor . From April 17 to May 21, 1787, Schiller stayed in Tharandt near Dresden and completed his Don Karlos there at the Gasthof zum Hirsch [23] .
On July 21, 1787, Schiller traveled to Weimar and there made the acquaintance of Herder , Wieland and the first Kantian Carl Leonhard Reinhold , who convinced Schiller to begin his Kant studies with his writings from the Berlinische Monatschrift . During a trip through Rudolstadt he met Charlotte von Lengefeld and her sister Caroline, who became known under her married name Caroline von Wolzogen after initially publishing the novel Agnes von Lilien under a pseudonym in Schiller's magazine Die Horen , which at times was either Schiller or Goethe [ 24] was attributed. In the same year the drama Don Karlos was printed and immediately performed. The first meeting between Schiller and Goethe took place on December 14, 1779 at the foundation festival of the Karlsschule in Stuttgart in the New Palace . [25] After Goethe returned from his trip to Italy in 1788, both poets came into closer contact for the first time on September 7, 1788 in the garden of the von Lengefeld family in Rudolstadt, although Schiller was solely interested in getting to know each other better.
Economic consolidation 1789–1799
In 1789, Schiller accepted an extraordinary professorship in Jena - contrary to his hopes, initially without a salary - and taught there as a historian , although he was a professor of philosophy. He particularly qualified with his history of the secession of the United Netherlands. The news that the popular author of The Robbers was to start teaching in Jena caused a real storm of enthusiasm. The whole city was in turmoil. The rush of interested students to his inaugural lecture What does it mean to study universal history and to what end? On May 26, 1789, the capacity of the lecture hall exceeded its capacity , so that the countless listeners had to move to the largest hall in the university at short notice. When Schiller's economic circumstances improved as a result of the professorship - from February 1790 he received an annual salary of 200 thalers from the Weimar Duke - [26] he wrote to Louise von Lengefeld in December 1789 asking for the hand of her daughter Charlotte . Louise von Lengefeld agreed to the marriage in a letter on December 22, 1789. [27] In the same year, the first book edition of the fragmentary novel The Ghost Seer was published , and Schiller became friends with Wilhelm von Humboldt .
After the banns on Sunday Invocavit , February 21, 1790, Schiller married Charlotte von Lengefeld on February 22, 1790 . The wedding was carried out - in the church in Wenigenjena, which has since been called the Schiller Church - by the poet's colleague, the philosophy professor and pastor Carl Christian Erhard Schmid . It was the first wedding ceremony performed by the clergyman. [28]
During a visit to his sister Christophine and his brother-in-law Reinwald in Meiningen, Duke George I awarded Friedrich Schiller the title of Hofrat . There were now many signs of professional improvements and family happiness.
But towards the end of the year, Schiller became critically ill. On January 3, 1791, in Erfurt, he suffered a collapse, a convulsive cough and temporary fainting. [29] Further attacks followed at the end of January and May. Schiller was probably ill with tuberculosis , from which he never recovered for the rest of his life. The rumor of his death spread throughout the country and reached Copenhagen in June , where the poet Jens Immanuel Baggesen had gathered a community of Schiller admirers around him. When it was heard that Schiller was still alive, in December of the same year Ernst Heinrich Graf von Schimmelmann and Friedrich Christian von Augustenburg , members of the Danish circle of friends, granted Schiller an annual pension of 1,000 thalers, which was limited to three years - a very welcome relief in living standards , which temporarily freed Schiller from the duties of earning a living so that he could concentrate fully on his philosophical and aesthetic studies. [30]
In 1792, Schiller became an honorary citizen of the French Republic for The Robbers alongside Friedrich Gottlieb Klopstock , Johann Heinrich Campe , Johann Heinrich Pestalozzi , George Washington and Tadeusz Kościuszko . The reason was more Schiller's reputation as a rebel than his actual work. Although he initially had a benevolent attitude towards the French Revolution , he foresaw the turning point into the Jacobins ' reign of terror , which was anti-freedom and contemptuous of humanity , and deeply detested the later mass executions in revolutionary France.
In the same year he completed The History of the Thirty Years' War and the works New Thalia and On Tragic Art were published . The work On Grace and Dignity followed in 1793 . His son Karl was born on September 14th. In 1794, Schiller met the publisher Johann Friedrich Cotta , who agreed to continue publishing the monthly magazine Die Horen and later the Musen-Almanac, which was published in the first volume by Salomo Michaelis in Neustrelitz in 1796 .
Friendly connection with Goethe
Johann Wolfgang von Goethe
chalk drawing by Friedrich Bury , 1800
Before Goethe and Schiller became the legendary pair of friends of Weimar Classicism , who visited each other almost every day and exchanged ideas not only literary, but also philosophical and scientific, helping and motivating each other, they were competitors. Goethe felt pressured by the younger man's growing fame. For him, Schiller was initially nothing more than an annoying reminder of his Werther era and his own Sturm und Drang , which he had now overcome . And Schiller saw the already established Goethe, who seemed aloof and arrogant to him at the first meeting arranged specifically by Charlotte von Lengefeld (on September 7, 1788 in Rudolstadt), as a “proud prude who you have to give a child to to humiliate before the world.” [31] What later connected the two rivals was working together on their own work, because to promote and improve each other through an intensive exchange of thoughts and feelings was the declared purpose of this friendship, the history of which was no less than ten years ongoing “practical test of the educational idea in the classical age”. [32] When Schiller died, an era came to an end for Goethe. The relationship had now become so close that when Schiller died - as he wrote in a letter to Carl Friedrich Zelter - Goethe believed he would lose half of his life, even half of himself.
After Schiller moved to Jena in the spring of 1794 and got Goethe to agree to work on the monthly magazine Die Horen in the summer, [33] the first friendly correspondence developed between the two. When Schiller wrote his second letter to Goethe on August 23, 1794, Schiller was invited by Goethe to Weimar in September 1794 and spent two weeks in his house . He maintained his usual daily routine, which meant sleeping until midday and working at night. Knowing about Schiller's conservative morals, Goethe and his long-time partner Christiane Vulpius covered up their “ wild marriage .” Christiane and her five-year-old son August remained invisible in their own house. Schiller described the relationship with Mademoiselle Vulpius as Goethe's "only nakedness" and criticized him in a letter for his "false ideas about domestic happiness". Goethe spoke of his “marriage without ceremony”. Schiller's passion for cards and tobacco bothered Goethe, who could sometimes be malicious towards friends; The often-rumored anecdote that Schiller could only write poetry when he smelled rotten apples also comes from him.
The Horen appeared for the first time in 1795. The most famous writers and philosophers of the time contributed to the magazine. [34] These included, among others, Herder , Fichte , August Wilhelm Schlegel , Johann Heinrich Voß , Friedrich Hölderlin , Wilhelm von Humboldt and his brother, the natural scientist Alexander von Humboldt . [35] Schiller also completed the treatise On Naive and Sentimental Poetry and his elegy The Walk in the same year .
In 1796, both Schiller's father and his sister Nanette died. His second son Ernst was born. From 1796 to 1800, Schiller published the literary magazine Musenalmanach , on which Goethe, Herder, Tieck , Hölderlin and August Wilhelm Schlegel, among others, contributed. In 1797, the Xenia appeared in the Musenalmanac for the year 1797 , in which Schiller and Goethe together mocked literary grievances.
Stone table at which Schiller often sat with Goethe in the garden of his garden house in Jena
In March 1797, Schiller purchased a garden house in Jena . He spent the summers of 1797 to 1799 there with his family.
The year 1797 is known as the “ ballad year ” because many of Goethe's and Schiller's ballads were written that year. Schiller in particular was extremely productive: The Diver , The Glove , The Ring of Polycrates , Knight Toggenburg , The Walk to the Iron Hammer , The Cranes of Ibycus ; The ballads Die Bürgschaft and Der Kampf mit dem Drachen followed in 1798 . In the same year, Schiller was finally given the certificate that made him an honorary citizen of the French Republic.
Kant and Schiller
Around 1791, the influence of Kantian philosophy - especially the aesthetics from the Critique of Judgment - became increasingly clear in Schiller's work.
Metaphysics and Ethics
Immanuel Kant
Kant had overcome the dogmatic form of metaphysics , with which he was “destined to be in love,” with his Critique of Pure Reason . Metaphysics, insofar as it wants to appear scientific, can only be understood as a critical limitation of what pondering reason has always been looking for, the inevitable questions about God , freedom and immortality . Ultimately, as dogmatic metaphysics has long claimed, reason cannot provide reliable information about these ideas beyond experience , but can only show the conditions of the possibility of experience - and this also means the limits of knowledge. It is not the things themselves that are captured, but rather their appearances . But what people bring in of their own accord - a priori - were, according to Kant, forms of perception and categories of the understanding. Kant distinguished reason from this, or more precisely the ideas of reason, which have a purely “regulative” function and are therefore not “represented” in empirical reality. An indirect representation was only possible in the form of an analogy . From this perspective, Kant's definition of the beautiful as a “symbol of moral good” can be explained. [36]
According to Kant, an action based on inclination could not be moral, since in this case the determinants of the will were heteronomous , therefore depended on external factors and could not be an expression of freedom. In a free act, the subject affirms the moral law of the categorical imperative out of insight and through the “reasoned” feeling of “respect for the law”.
Kantian ethics opposes eudaemonism , which views virtue as a source of happiness. One does not act morally in order to feel good, but in the awareness of freedom (autonomous spontaneity) before the moral law one feels - as a result, not as a goal - a feeling of satisfaction and joy. Kant called this pleasure of virtue “self-satisfaction.” When people are aware of moral maxims and follow them – without inclination – they feel the “source of […] associated […] unchanging satisfaction”. [37] “Inclination is blind and servile, whether it be benign or not.” [37] Even pity seems “annoying” to Kant when it precedes the consideration of what duty is.
Ethics and aesthetics
In the Critique of Judgment, Kant explained beauty in its effect on the subject and distinguished between two forms of “pleasure”. The pleasure was, firstly, “interestless”, i.e. not based on the idea of the existence of the beautiful object, and secondly, it was related to a satisfaction with the inner practicality of the beautiful object, without any practical intention associated with it - for example in the use of the object.
According to Kant, the free judgment of taste is a creative achievement of the recipient . In 1791, Körner pointed out to Schiller that Kant only described beauty in terms of its effect on the subject, but did not examine the differences between beautiful and ugly objects. Almost two years later, Schiller began formulating his answers to these questions. [38] As a “content aesthetic” he also defined beauty as a product of the mind in the form of artistic beauty . In a letter to Körner in 1792, he wrote that he had found the “objective concept of the beautiful, which Kant despairs of,” but later limited this hope again.
In the first of the Kallias letters of January 25, 1793, Schiller found the difficulty of “objectively establishing a concept of beauty and legitimizing it completely a priori from the nature of reason […] almost impossible to ignore.” Beauty resides “in the field of appearances,” where there is no room for Platonic ideas. Beauty is a property of things, of objects of knowledge, and a “thing without properties” is impossible. [39] Here Schiller also formulated his famous formula that beauty is “freedom in appearance”.
In his philosophical treatise On Grace and Dignity , the first major reaction to Kant, in which he formulated his ideas - albeit rhapsodic, not systematic-deductive -, [40] Schiller wrote: “The idea of duty is present in Kant's moral philosophy presented with a harshness that deters all grace from it and could easily tempt a weak mind to seek moral perfection through a dark and monkish asceticism. No matter how much the great worldly wise man tried to protect himself against this misinterpretation, [...] he himself, through the strict and glaring opposition of the two principles that act on the human will, has a strong (although perhaps hardly avoidable given his intentions ) gave reason for this.” [41]
In contrast to Kant, he represented the ideal of morality that sought to combine inclination and duty . He saw this possibility in the area of aesthetics. Through art, the intellectual and sensual powers should develop harmoniously. Aesthetics is the way through which the sensual human being is made rational. [42]
“In a beautiful soul it is where sensuality and reason, duty and inclination harmonize, and grace is their expression in appearance.” [43]
Freedom in the Kantian sense means for the subject to be free from external regulations and to be its own legislator. For Schiller, this self-determination appears in the autonomy of the work of art . In its harmony it seems to follow no external purpose, but only its own internal laws. While Kant defines beauty from the perspective of the person viewing it, Schiller also concentrates on the essence of the beautiful art object.
Schiller wanted to establish a concept of beauty that conveyed nature and reason, the world of the senses and the moral world. [44] Beauty was impossible without a sensual appearance, but the sensual material - art - was only beautiful if it corresponded to the idea of reason. Beauty was therefore to be seen as the “citizen of two worlds, one of which she belongs by birth, the other by adoption; “It receives its existence from sensible nature and acquires citizenship in the world of reason.” [45]
To clarify the relationship between Kant and Schiller, the famous distich “Scruples of Conscience” was often referred to: “I am happy to serve my friends, but unfortunately I do it with inclination / And so it often bothers me that I am not virtuous.” [46]
Schiller, on the other hand, did not view Kant as an opponent but as an ally and himself pointed out “misunderstandings” of Kant’s teachings. Above all, Schiller viewed the interaction of rational and sensual elements differently than Kant. While Kant saw it as just one of many duties, Schiller saw it as essential to virtue. The distich does not seriously reflect Schiller's opinion about Kant's ethics. [47]
Weimar years from 1799
Memorial plaque at Windischenstraße 8 in Weimar
On October 11, 1799, his daughter Caroline Henriette Luise was born, and on December 3, Schiller moved with his family to Weimar. That year, Schiller completed Wallenstein and The Song of the Bell .
In 1800 he finished work on the drama Maria Stuart , in 1801 The Maid of Orléans . His poem The Beginning of the New Century was published. In 1802 he bought a house on the Weimar Esplanade , which he moved into on April 29, 1802. His mother died on the same day. On November 16, 1802, Schiller was ennobled and presented with the nobility diploma . [48] From now on he was allowed to call himself Friedrich von Schiller .
Schiller's home in what is now Schillerstrasse in Weimar
In 1803, Schiller completed his work on the drama The Bride of Messina . On February 18, 1804, he completed William Tell and immediately began work on Demetrius , which, however, he was not able to complete. His daughter Emilie Friederike Henriette was born on July 25, 1804 . During this time he became increasingly ill.
Death in 1805
A few months before Schiller's death, a newspaper spread the false report that he had died. But in February 1805 Schiller actually became seriously ill - he met Goethe for the last time on May 1st on the way to the Weimar Court Theater . Shortly before his death, Schiller completed the translation of Jean Racine's classic tragedy Phèdre (1677).
On May 9th, Friedrich Schiller died in Weimar at the age of 45 from acute pneumonia , presumably caused by tuberculosis . As the autopsy showed, Schiller's right lung was completely destroyed. The kidneys were also almost destroyed. The heart muscle had degenerated and the spleen and bile were greatly enlarged. The autopsy was carried out by Wilhelm Ernst Christian Huschke and Gottfried von Herder . Ferdinand Jagemann drew Schiller on his deathbed. Johann Christian Ludwig Klauer made his death mask .
On the night of May 12, 1805, Friedrich Schiller was buried in the cemetery of St. Jacob's Church in Weimar.
Schiller's body was initially buried in the vault at Jacobsfriedhof Weimar . His remains were to be recovered in 1826. However, they could no longer be identified. The bones that were most likely to be in question were then brought to the Duchess Anna Amalia Library . In the fall of 1826, Goethe secretly borrowed the skull from there. He only told his friend Wilhelm von Humboldt , who, however, passed on the information. While looking at the skull, Goethe wrote the poem Looking at Schiller's Skull . The remains were transferred to the prince's crypt in the new Weimar cemetery on December 16, 1827, where Goethe was later buried "at Schiller's side" at his own request.
Schiller's bones
The Weimar Prince's Crypt in the historical cemetery in Weimar , where mortal remains were buried in 1827, which were mistakenly attributed to Friedrich Schiller.
In 1911 another skull was found, which was also attributed to Schiller. For years people argued about which one was the right one. In order to clarify this, the research project “The Friedrich Schiller Code” was started on behalf of the Mitteldeutscher Rundfunk (MDR) and the Klassik Stiftung Weimar . The aim was to clarify whether one of the two skulls designated as Schiller skulls was in the Weimar princely crypt was really Schiller's. In the spring of 2008 it was concluded that neither skull could be assigned to Schiller. This was revealed by complex DNA analyzes of the bones of Schiller's sisters and the comparison of this DNA with that from the teeth of the two royal crypt skulls.
At the same time, a facial reconstruction took place on the skull, which was previously considered authentic. This resulted in a similarity to Schiller's face, although the scientist did not know the goal of the project. However, since the DNA analyzes carried out by two independent laboratories are considered conclusive, little attention has been paid to the result of the facial reconstruction. The skeleton previously in Schiller's coffin was also examined. Its parts can be assigned to at least three different people; The DNA of the Schiller skulls does not match the DNA of the skeletal parts.
The Weimar Classic Foundation decided to leave Schiller's coffin empty in the prince's crypt. The foundation will no longer search for the real skull. [49] Scientists at the University of Freiburg also ended the search for the real skull without results after extensive examinations of the skull collection at the Eberhard Karls University of Tübingen . [50]
plant
Poetry
Development
Schiller's early poetry was initially influenced by role models such as Klopstock and Schubart . Knowledge of the Bible , Ossian and reading of the poets Ovid , Horace , Shakespeare and the young Goethe left formal and linguistic traces that are easy to recognize. He was able to compensate for his still undeveloped individuality with two characteristics that soon made him very popular, especially among younger and enthusiastic audiences: his powerful and violent speech gestures and his feeling for the major current issues of society and humanity. Schiller's Ode to Joy is the best-known poem from his time in Leipzig and Dresden and reflects the comparatively happy phase in the Körner circle . In addition to Ludwig van Beethoven's famous version in the fourth movement of the 9th Symphony, it has been set to music more than 100 times.
While many of his later classical verses were extremely popular and influential, critical and even negative voices appeared as early as the beginning of the 19th century and ultimately led to an ambivalent assessment. Schiller himself also surprised people with some sometimes rigorous self-assessments in which he devalued his own work and questioned its meaning. In a letter to Körner in 1796, for example, he wrote: “[…] against Göthen I am and remain a poetic scoundrel.” He sees the “lyrical subject” more as “an exile than for a conquered province”. . It is the "pettiest and most ungrateful of all." Occasionally he still writes a few verses, although the effort that the work The Artists took deters him from further attempts, although he will definitely write a few more plays.
On the other hand, one saw something exemplary in many of his often popular works, less because of their genuinely poetic qualities than because something typical of the time could be found in them. The passionate poems in the anthology, which was initially published anonymously in 1782, concluded the genius period of Sturm und Drang . Some of the following works, which are attributed to the middle period , were determined by the spirit of the late Enlightenment and led to the poems of the Weimar Classic , whose classification as thought poetry proved to be problematic for Schiller: it was precisely this that led to negative assessments and negative assessments compared to Goethe's experiential poetry influenced the later reception. Many of his ballads, however, were extremely popular with the general public and sparked imitations that were soon forgotten. Only Friedrich Hölderlin stands out here as an original and tragic poet, in that his proximity to Schiller did not restrict him, but rather gave him powerful inspiration.
Schiller and Goethe
While Goethe's poetry is attributed to the direct observation of things and the simple beauty of his verses is praised, critics often see Schiller's excessive will to pour philosophical principles and social demands into verse, thereby producing clichés and platitudes.
Schiller later tried to make use of the more theoretically differentiated basis of his poetry in relation to Goethe. With his last major philosophical work, On Naive and Sentimental Poetry, he also pursued the goal of reflecting and justifying his own poetry. On the one hand, he found them deficient compared to him, but on the other hand, he viewed them as more progressive because of their philosophical foundation. The painful comparison with the poet stylized as an Olympian, whom he had secretly hated for many years, led him to the self-critical question of whether, after years of philosophical speculation, he might actually be the “better poet”. He contrasted a reflective and sentimental poetry with a natural and naive one . While the naive poet, of whom Goethe appears to be the epitome, imitates reality in the “state of natural simplicity” and refers to the beautiful , the sentimental poet represents the ideal in the “state of culture”.
Jakob Schlesinger : Portrait of Georg Wilhelm Friedrich Hegel , 1831
In his lectures on aesthetics, Hegel already discussed the differences between the poetry of Goethe and Schiller and came to a judgment that was much milder than the later words of Nietzsche and Adorno . He warned against disparaging Schiller compared to Goethe. He did recognize the “intentionality of abstract reflections and even the interest of the philosophical concept […] in some of his poems”; However, it is unfair to play off his verses “against Goethe’s constant impartiality, unclouded by the concept”. Schiller's great achievement was to have overcome the Kantian subjectivity and abstraction of thought and to have tried to think beyond them to grasp and shape reconciliation as the truth. While Schiller immersed himself in the depths of the spirit, Goethe pursued the natural aspects of art and concentrated on nature with its plants and animals, crystals and clouds.
In 1830, Wilhelm von Humboldt highlighted Schiller's “intellectuality” as a special quality that had to be developed over a long period of time. Taking up Schiller's “theory-heavyness” from a psychological perspective, he already questioned the dualistic scheme. It is unfair to see his great poems as mere thought poetry , because the intense experiences were tied to his thinking and thus his second nature. For Humboldt, his philosophical verses are no less experiential poetry than the poems of the young Goethe.
Hans Mayer also turned against the oppressive standards of Goethe's experiential poetry and tried to determine the special value of Schiller's poetry. For him, his work shows the recurring alternation of “exuberance and resignation”. Unlike Goethe, he did not know the “highest fulfillment in the moment,” that special moment of lyrical experience that can only be understood as deep happiness. Schiller, on the other hand, discovered at the moment “above all his fleetingness” and “the passing away within him”. The sharp antitheses that permeate his entire work, giving his prose its impetus and his dramas their passion heightened to the extreme, illustrate this central question of his life. His melancholic youth work The Evening from 1776 already contrasts the image of the setting sun - "perfect like the hero" - with that of happier worlds - worlds for which the face of the evening is the face of the morning.
In Peter-André Alt's opinion , it would be fatal to maintain the usual “canon-forming orientation towards Goethe's poetry” compared to Schiller. Although some of Schiller's poems would seem strange or even embarrassing to today's readers (such as the Song of the Bell as a grateful example for the mockers), the reason is not the lack of poetic substance, but rather Schiller's tendency to "sound banal" by bourgeois standards of life to formulate oriented truths. Alt attributes the social demands, which often seem mediocre, to Schiller's criticism of the consequences of the French Revolution . The poems in which he contrasted antiquity with modernity were more mature and reflected deeper reflection . Unfortunately, Goethe often appears as a fixed star when Schiller's poetic development is seen as nothing more than a path to his visual language. [61] The essence of his poetry and its quality even compared to Goethe can be recognized if one does not overlook the poetic meaning of the allegory and the relationship between image and concept. Schiller illustrated the abstract by first assuring himself of the possibilities of human reason, a path that could be appreciated as a critical achievement in Kant's sense .
Goethe's lyrical approach, on the other hand, is the symbol . He himself turned against Schiller's allegorical approach and explained the differences years after his death. As a poet, Schiller looked for “the particular in addition to the general,” but he saw the particular in the general, a method that corresponds to the actual “nature of poetry,” since it expresses “a particular,” “without thinking about or pointing to the general.” “. Years earlier, Goethe had noticed that some “objects” had put him in a “poetic mood.” He explained to himself that it is not the imagination, but the things themselves that evoke feelings because they “stand as representatives of many others, contain a certain totality within themselves […] and claim a certain unity and allness from the outside as well as from the inside make". When he informed Schiller of this “happy discovery” and Schiller reacted extremely laconically, he was initially disappointed. According to Schiller, the symbolic character (of Goethe's poetry) is not a natural property of the thing, but rather the result of fantasy and sentimental imagination. If the object is empty and poetically meaningless, the human imagination will have to try its hand at it. For Schiller, it was not the appearances that were important, but rather the respective modes of sensation, which have their own aesthetic value.
The root of Goethe's symbolism is his assumption that natural phenomena are (ideally and generally) "significant in their deepest." Goethe's elegies of the 1790s such as Alexis and Dora and The Metamorphosis of Plants testify to his view of viewing natural phenomena themselves as important. If the symbol is explained by a sublime culture of perception, the allegory merely follows the imagination in order to be able to attribute a deeper meaning to the phenomena. Goethe's natural philosophy essentially contradicts Schiller's concept of allegory.
Schiller as a historian
Schiller's preoccupation with history is characterized by the appropriation and further development of the spectrum of universal historical ideas of the Enlightenment , which he consistently developed particularly in his aesthetic writings On the Aesthetic Education of Man and On Naive and Sentimental Poetry . The aestheticization of history as a science, the anthropological turn and the emphasis on man as an object of history, the justification of the educational function of history and the proclamation of the method of historical analogy served as key elements not only for the further development of Schiller's historical thinking his historical works History of the Apostasy of the United Netherlands from the Spanish Government and History of the Thirty Years' War , but also for the creation of his classic historical drama.
stories
Schiller's fame is not based on his stories - it was his dramas and his poetry that first made him known. There is only a small supply of his prose , which contributed to him being less respected and even overlooked as a stylistically groundbreaking narrator. Only in the last few decades has the picture changed. Research now assumes that his theoretical writings also belong to this area, a perspective that is reflected in the concept of the Frankfurt edition , in which his stories and historical writings are combined in a double volume.
Since the text Strange Example of a Female Revenge is a translation of a template by Denis Diderot and Haoh-Kiöh-Tschuen is a fragmentary adaptation of a novel translated from Chinese, there are only four stories written by Schiller.
The fragmentary novel The Ghost Seer is one of the most influential works of horror literature [68] and describes the fears of an age towards the uncanny with often very vivid elements such as necromancy and spiritualism .
With the stories Game of Fate , A Magnanimous Act and The Criminal of Lost Honor, Schiller took up real events. In the sometimes very dense texts, he concentrated primarily on the psychological development of the characters and was also able to point out social injustices, such as the penal system . [67] The Generous Act is a moral narrative. which developed as a separate genre in the 18th century. Schiller referred to the report of the mother of a classmate from his time at the Karlsschule and wrote right at the beginning of his work that the anecdote had “an undeniable merit – it is true”. As with his early dramas, Schiller wanted to show real people here and captivate the reader more emotionally than the sensitive writer Samuel Richardson with his novels Pamela or Sir Charles Grandison . He went so far as to explicitly mention this wish in his short story.
In this context, the question is also raised as to where the boundary should be drawn between literary and historical or historiographical narrative. In a letter to Caroline von Wolzogen dated 10/11. In December 1788, Schiller said that historical truth could also be felt even though things did not actually happen. “In this way you get to know the human being and not the human being, the species and not the individual who so easily gets lost. In this great field the poet is lord and master.”
Significance in literary history
Schiller is a contemporary of the transition from the absolutist to the bourgeois age and the French Revolution . Since the bourgeoisie could not and was not allowed to express itself politically under absolutism - which was often small-state in Germany - literature became a central medium for increasing bourgeois self-confidence in the second half of the 18th century. The pathos and sensitivity in Schiller's works up to around 1785 are an expression of the development of humanity, a principle that is opposed to the aristocratic desire for power. The bourgeois tragedy as a predominant formal element (or its contrast between humanity and lust for power in the early dramas up to Kabale and Liebe ) reflects this.
After the period between 1785 and 1795 with works such as Don Karlos and fundamental literary theoretical treatises such as On the Aesthetic Education of Man and On Naive and Sentimental Poetry, between 1795 and 1805 mainly dramas were created that can be assigned to the Weimar Classic. In them, Schiller implemented the program of human aesthetic education - to combine understanding and feeling. He intended to shape the aesthetic human being with the effect on the audience through the alternation of idyllic and dramatic - as a prerequisite for the non-violent transition to a rational state and as a counter-program to the French Revolution as well as to contemporary politics, in which he only used raw forces saw at work.
Schiller is therefore not only the author of language-rich and visually powerful dramas such as The Robbers , Don Karlos , The Maid of Orleans and William Tell . He also brought his German-speaking readership closer to the ideals of reason, humanity and freedom that developed in his (18th) century. In Schiller's own words, the "construction of a true political freedom" is the "most perfect of all works of art" ( On the Aesthetic Education of Man. Second Letter).
reception
Schiller's works were enthusiastically received not only in Germany, but also in many other European countries, for example in the still ununified, oppressed Italy (see Giuseppe Verdi ), in tsarist Russia and in Denmark. There, Schiller's admirer Hans Christian Andersen created a literary monument to him in the fairy tale The Old Church Bell , which proclaims the young Friedrich as "one day [...] rich man whose treasures bless the world." Still others saw Schiller as a poet of freedom and soon as a defender of bourgeois morality. The powerful catchiness of his verses and his sure-fire stage dialogues ensured that many of them became household words . In 1859, his 100th birthday was celebrated throughout Europe , even in the USA. The publisher Johann Friedrich Cotta sold a total of 2.4 million copies of the work edition by 1867.
In the 19th and early 20th centuries, the German bourgeoisie increasingly reified Schiller 's works. Since the school reformers of the 19th century introduced it into reading books, people learned his Schiller by heart and used him more as " cultural capital " than to acknowledge him as an artist and thinker (cf. semi-education ). He was also valued as a freedom poet in the German workers' movement and in workers' educational associations . But nationalist-oriented circles also tried to adopt the poet in their own way. This is how the German Schiller Association was founded in 1906 .
After coming to power, the National Socialists initially tried to appropriate Schiller as what they considered a “German poet”. In 1941, however, the performance of Wilhelm Tell was banned on Hitler's orders . Hitler saw it as glorifying a Swiss sniper who committed tyrannical murder. Don Karlos was also no longer performed.
In the GDR, efforts were made to integrate Schiller ideologically. There he was considered a “progressive bourgeois” who helped prepare communism. Lavish celebrations were held in 1959 to mark his 200th birthday. The speech Experiment about Schiller , which Thomas Mann gave on the 150th anniversary of the poet's death in May 1955 (shortly before his own death) in both parts of divided Germany, was a "declaration of love" to Schiller and at the same time an appeal to the Germans Apparently they had learned nothing from the last two wars.
In Schiller's year of 2005, however, it became clear that even in the reunified German Republic his work was being appreciated more in a calendar manner than with enthusiastic reception. Schiller-related literary studies gained new momentum, but the mass media mainly treated the memorial day biographically. However, his texts still had an impact in public events. Travesties or updated adaptations, on the other hand, were more difficult. The originals were no longer well known enough. The type of educated citizen who is familiar with Schiller's works can no longer be assumed among theater audiences and readers in the 21st century.
Schiller Prizes
The following Schiller Prizes were donated:
Schiller Prize (Prussia)
People's Schiller Prize
Schiller Memorial Prize of the State of Baden-Württemberg
Schiller Prize of the city of Mannheim
Schiller Prize of the city of Marbach am Neckar
Schiller Prize from the Zürcher Kantonalbank
Honorary gifts from the German Schiller Foundation
Schiller Prize of the German Cultural Organization for the European Spirit
Grand Schiller Prize of the Swiss Schiller Foundation
Schiller ring
Friedrich von Schiller Prize (Berlin)
See also : other Schiller Prizes
More honors
The plant genus Schilleria Kunth from the pepper family (Piperaceae) is also named after Schiller . [76]
Works (selection)
Smaller prose writings. 1 (1792)
Dramatic works
The Robbers (including Hector's Song ) (1781)
The Conspiracy of Fiesco at Genoa (1783)
Cabal and Love (1784)
Körner's Morning (1787, staged joke, probably performed on Körner's 31st birthday)
Don Carlos (1787)
The Reconciled Misanthrope (unfinished, 1790)
Wallenstein Trilogy (1799)
Mary Stuart (1800)
The Maid of Orleans (1801)
The Bride of Messina (1803)
William Tell (1803/04)
The Homage to the Arts (1804)
Demetrius (unfinished, 1805)
Narrative prose
A magnanimous act
The Criminal of Lost Honor (1786)
The Spirit Seer (fragment)
Game of fate
Duke of Alba at a breakfast at Rudolstadt Castle. In 1547 (1788)
Poetry
The Venus Chariot (1781)
To Joy (1786)
Resignation (1786)
The Gods of Greece (first version 1788, second version 1800)
Hector's Farewell (1790)
The Veiled Image at Sais (1795)
The Walk (1795)
The Partition of the Earth (1795)
The Diver (1797)
The Cranes of Ibycus (1797)
Knight Toggenburg (1797)
The Glove (1797)
The Walk to the Iron Hammer (1797)
The Ring of Polycrates (1797)
The Fight with the Dragon (1798)
The Guarantee (1798)
The Song of the Bell (1799)
Nänie (1800)
The beginning of the new century (1800)
The Victory Festival (1803)
Philosophical writings
Philosophy of Physiology (1779)
On the connection between man's animal nature and his spiritual nature (1780)
About the contemporary German theater (1782)
The Walk under the Linden Trees (1782)
The Young Man and the Old Man (1782)
The Schaubühne viewed as a moral institution (1784)
Philosophical Letters (1786)
On the Reason for Pleasure in Tragic Objects (1792)
On Tragic Art (1792)
Augustenburg letters (1793)
On Grace and Dignity (1793)
Kallias letters (1793)
On the aesthetic education of man (1795)
On naive and sentimental poetry (1795)
On Dilettantism (1799; together with Johann Wolfgang von Goethe)
On the Sublime (1801)
Historical works
History of the secession of the united Netherlands from the Spanish government (1788)
What does it mean and to what end does one study universal history? (Inaugural lecture on May 26, 1789)
History of the Thirty Years' War (1790), digital copy and full text in the German Text Archive
Translations and adaptations
Euripides : Iphigenia in Aulis
Euripides : Scenes from The Phoenicians
William Shakespeare : Macbeth (1800)
Turandot (after Carlo Gozzi , 1801)
The Nephew as Uncle (play based on Louis-Benoît Picard , 1803)
The parasite or the art of making one's luck (comedy after Louis-Benoît Picard, 1803)
Racine : Phèdre (1805)
Denis Diderot : Jacques le fataliste et son maître , partial translation under the title: Strange Example of Female Revenge (1785)
Published magazines
Wirtemberg Repertory (1782–1783)
Thalia (from 1784)
The Horen (1795–1797)
Almanac of the Muses (1796–1800)
literature
Editions (selection)
Christian Gottfried Körner (ed.): Friedrich von Schiller's entire works. 12 volumes. Cotta, Stuttgart/Tübingen 1812–1815.
Schiller's entire works. Complete edition in one volume. With the portrait of the poet, a facsimile of his manuscript and an appendix. Cotta, Munich/Stuttgart/Tübingen 1830.
Karl Goedeke (ed.): Schiller's entire writings. Historical-critical edition. 17 volumes. Cotta, Stuttgart 1867–1876.
Fritz Jonas (ed.): Schiller's letters. Critical complete edition. 7 volumes. German publishing company, Stuttgart/Leipzig/Berlin/Vienna 1892–1896.
Eduard von der Hellen (ed.): Complete works. Secular edition. 16 volumes. Cotta, Stuttgart/Berlin 1904/05.
Conrad Höfer (ed.): Complete works. Horen edition. 22 volumes. Müller, Munich/Leipzig 1910–1914 (up to vol. 15) and Propyläen, Berlin 1920–1926.
Schiller's works. National edition. Historical-critical edition. On behalf of the Goethe and Schiller Archives, the Schiller National Museum and the German Academy; Editors included Julius Petersen , Gerhard Fricke , Benno von Wiese and Norbert Oellers . 43 volumes. Böhlau, Weimar from 1943. [77]
Gerhard Fricke, Herbert G. Göpfert , Herbert Stubenrauch (eds.): Complete works. Based on the original prints. Five volumes. Hanser, Munich 1958/59.
Complete Works. According to the latest editions, including the first printings and manuscripts. Introduction by Benno von Wiese, comments by Helmut Koopmann. 5 volumes. Winkler, Munich 1968.
Hans-Günther Thalheim et al. (Ed.): Complete works. Berlin edition. 10 volumes. Construction, Berlin/Weimar 1980–1990 (up to Vol. 5) and Berlin 2005.
Schiller. Works and letters in twelve volumes. Editors included Gerhard Kluge , Otto Dann and Norbert Oellers. German Classic Publishing House, Frankfurt am Main 1992–2002.
Friedrich Schiller, Works , CD–ROM, Digital Library Volume 103, Directmedia Publishing , Berlin 2003, ISBN 3-89853-203-8 .
Albert Meier , Peter-André Alt, Wolfgang Riedel (eds.): Friedrich Schiller. All works in five volumes. dtv, Munich 2005.
Biographies
Peter-André Alt : Schiller. Life - work - time (2 volumes). Verlag CH Beck, Munich 2000, ISBN 3-406-45905-6 and ISBN 3-406-46225-1 .
Jörg Aufenanger : Friedrich Schiller. Artemis and Winkler, 2004.
Jörg Aufenanger: Schiller and the two sisters. German paperback publisher, Munich 2004, ISBN 3-423-24446-1 .
Friedrich Burschell : Friedrich Schiller in self-testimonies and photographic documents. rororo 1958 and more often.
Sigrid Damm : The life of Friedrich Schiller. Insel, Frankfurt 2004, ISBN 3-458-17220-3 .
Friedrich Dieckmann : “This kiss of the whole world” – The young man Schiller . Insel, Frankfurt am Main 2005, ISBN 3-458-17244-0 .
Frank Druffner, Martin Schalhorn: God's plans and mouse business - Schiller 1759–1805. Marbacher Catalog 58, Marbach 2005, ISBN 3-937384-11-1 (catalog of the exhibition in the Schiller National Museum Marbach and Schiller Museum Weimar).
Marie Haller-Nevermann: Friedrich Schiller. I cannot be a prince's servant. A biography. Building Publishing House, 2004.
Helmut Koopmann (Ed.): Schiller Handbook. Kröner, Stuttgart 1998, 2nd edition 2011.
Helmut Koopmann: Friedrich Schiller (2 volumes). Metzler, Stuttgart 1966, 2nd edition 1977.
Helmut Koopmann: Schiller and the consequences. Metzler, 2016, ISBN 978-3-476-02650-7 .
Peter Lahnstein: Schiller's life. Biography. List, Munich 1981.
Johannes Lehmann : Our poor Schiller – a disrespectful approach. Biography. Rowohlt, Reinbek 2005, ISBN 3-499-23270-7 .
Götz Lothar-Darsow: Friedrich Schiller , Metzler 2000.
Norbert Oellers : Schiller. Reclam, Stuttgart 1993.
Norbert Oellers: Johann Christoph Friedrich von Schiller. In: New German Biography (NDB). Volume 22, Duncker & Humblot, Berlin 2005, ISBN 3-428-11203-2 , pp. 759–763 ( digital copy ).
Claudia Pilling: Friedrich Schiller. Biography. Rowohlt, Reinbek 2002, ISBN 3-499-50600-9 .
Rüdiger Safranski : Schiller or The Invention of German Idealism. Biography. Hanser, Munich 2004, ISBN 3-446-20548-9 (also Darmstadt, Scientific Book Society).
Rüdiger Safranski: Goethe and Schiller. Story of a friendship . Hanser, Munich et al. 2009, ISBN 978-3-446-23326-3 .
Friedrich Schiller. A documentation in pictures. Schiller National Museum, Marbach 1979; Licensed edition island, Frankfurt am Main.
Helmut Schmiedt: Friedrich Schiller. Literature Compact, Vol. 4. Tectum, Marburg 2013, ISBN 978-3-8288-2970-1 .
Emil Staiger : Friedrich Schiller. Atlantis, Zurich 1967.
Gert Ueding : Friedrich Schiller. Beck series, Munich 1990.
Barbara Wais: The Schiller Chronicle. Insel Verlag, Frankfurt am Main 2005, ISBN 3-458-17245-9 .
Benno von Wiese : Friedrich Schiller. Metzler/Poeschl, Stuttgart 1959, 3rd edition 1963.
Other, special topics
Rostislav Danilevskij: Schiller in Russian literature (= writings on the culture of the Slavs. Volume 1). Dresden University Press, Dresden 1998, ISBN 3-931828-53-0 .
Friedrich Dieckmann: “Freedom is only in the realm of dreams.” Schiller’s turn of the century. Insel Verlag, Frankfurt am Main 2009, ISBN 978-3-458-17455-4 .
Thilo Dinkel, Günther Schweizer: Ancestors and family of the poet Friedrich Schiller. A genealogical inventory. Southwest German ancestral lists and pedigree volume. 4, Association for Family and Heraldry in Württemberg and Baden e. V., Stuttgart 2005, ISBN 3-934464-08-4 .
Elmar Dod : The rationality of the imagination in the Enlightenment and Romanticism. A comparative study of Schiller and Shelley's aesthetic theories in their European context (= Studies on German Literature , Vol. 84). Max Niemeyer, Tübingen 1985, ISBN 3-484-18084-6 [78]
Nils Ehlers: Between beautiful and sublime. Friedrich Schiller as a political thinker. In the mirror of his theoretical writings. Cuvillier, Göttingen 2011, ISBN 978-3-86955-714-4 .
Stephan Füssel : Schiller and his publishers. Insel Verlag, Frankfurt am Main/Leipzig 2005, ISBN 3-458-17243-2 .
Georg Günther: Friedrich Schiller's musical impact history. A compendium. Part 1: Introduction and register. Part 2: List of musical works. Metzler, Stuttgart 2018, ISBN 978-3-476-04619-2 .
Wolfgang Hach, Viola Hach-Wunderle: About monsters, plague and syphilis. Medical history in five centuries. Schattauer, Stuttgart 2017, ISBN 978-3-7945-3210-0 , Chapter 6: Schiller's illnesses and his burials. New insights from the surgeon's perspective, pp. 91–118 ( limited preview on Google Books ).
Jonas Maatsch, Christoph Schmälzle: Schiller's skull - physiognomy of a fixed idea. Accompanying volume to the exhibition of the same name in the Schiller Museum Weimar, September 24, 2009 to January 31, 2010. Wallstein, Göttingen 2009, ISBN 978-3-8353-0575-5 .
Walter Müller-Seidel : Friedrich Schiller and politics: Not the big things, only the human things happen. C. H. Beck, Munich 2009, ISBN 978-3-406-57284-5 .
Barbara Neymeyr : Moral aesthetics versus duty ethics: On the problem of Schiller's criticism of Kant. In: Yearbook of the German Schiller Society 65 (2021), ISBN 978-3-8353-5085-4 , pp. 39–68.
Barbara Neymeyr : Schiller's moral aesthetics as a failed criticism of Kant and the 'Kalokagathia' idea. (= Literature and Philosophy, Vol. 6) Verlag Karl Alber, Baden-Baden 2023, ISBN 978-3-495-99402-3 .
Wilfried Noetzel: Friedrich Schiller's philosophy of the art of living. On aesthetic education as a project of modernity. Turnshare, London 2006, ISBN 1-903343-91-7 .
Jörg Noller : Schiller's philosophy of mind. On the aesthetic unity of reason and nature . Nomos, Baden-Baden 2022, ISBN 978-3-495-99938-7 .
Norbert Oellers, Robert Steegers: Weimar. Literature and life at the time of Goethe (= Reclam paperback. No. 20182). 2nd, improved edition. Reclam
Sony Nex-5N + E55-210mm.
From 05th August - 11th November 2014, The Tower of London hosted a major art installation created by Paul Cummins & Tom Piper, called 'Blood Swept Lands and Seas of Red' in order to mark the passing of one hundred years since the first day that Britain entered the First World War.
888,246 ceramic poppies gradually filled the moat of The Towr of London, each one representing a British military casualty during that war.
You can find more information here
At the turn of the last century when great archaeological discoveries were being made in the Middle East and in Greece by Schliemann and co., there was an international public fascination with Mesopotamia, and the use of images from ancient Mesopotamian and Persian art became popular in the decoration of commercial skyscrapers with statues, reliefs and friezes like this one of a procession. ('Time Out' guide - Prague)
- "The Intercontinental (formerly Radisson) Hotel, at 505 N. Michigan Avenue on Chicago’s Magnificent Mile, was originally built as the Medinah Athletic Club in 1929 at a cost of $8 million. [This huge pile was an athletic club??] The architect was Walter Ahlschlager. Unfortunately it became a victim of the depression and fell into receivership in 1932 [and then] reopened as a hotel. ...
- "The Smithsonian database documents the 3 reliefs visible from Michigan Avenue on the south, west and north facades at the 8th floor level. The carvings, in the Assyrian style, are entitled Contribution [this] (south wall), Wisdom (west wall) and Consecration (north wall). ... The west frieze facing Michigan Avenue is 175 ft long."
- From an article in the Chicago Tribune from Sept 16, 1928 entitled “Building art inspires panels”:
“The friezes were designed by George Unger, in collaboration with Walter Ahlschlager, and carved by Leon Hermant. The figures are costumed in the period of the building, which is that of an old fortress in Mesopotamia in Xerxes' time, @ the 5th cent. BC. The theme of the panels, as explained by Mr. Unger, was inspired by the history of construction of any building. The south panel [this] starts the story. Here a magnificent cortege is displayed. This panel, termed 'Contribution', signifies the [assembly or collection] of treasures for the construction of the building. In the west panel, facing Michigan Avenue, a ruler is shown with his counselors and an architect is shown bringing in a model of the building planned. The north panel shows the consecration of the building after it has been built. A priest sacrifices a white bull whose blood will be mixed with crushed grapes and poured into the earth. A monkey trainer and his animals are shown. Since the animals represented bigotry in the ancient drawings, they are shown here in leash [and in the] symbolic belief that bigotry has no place in the Masonic order.”
N.B.: Three “Sumerian warriors” were also carved into the 12th floor setback on the south and west sides, but aren't included in the Smithsonian database. www.waymarking.com/waymarks/wm8T8A_Intercontinental_Hotel...
- This was my first trip to Chicago. I've made at least a few visits since, never in transit, but this first was my longest stay (@ 10 days). I'll have to scan a couple more photos. I enjoy Chicago. It's like Toronto but with nicer people. I have much to write about what I saw there, and will do in this space sometime.
United Committee for African-American Contributions in St. Mary's County (UCAC) 8th Annual Juneteenth Celebration Festival at Freedom Park at intersection of Route 235 and Tulagi Place in Lexington Park, MD on Saturday, 18 June 2011 by Elvert Barnes Photography
Ceremony
Visit UCAC Juneteenth Festival at www.ucaconline.org/juneteenth.html
Elvert Barnes Photography
Manfrotto School of Xcellence is launching a call for contribution on its website for 10 photographers who believe they have valuable experience to share concerning the following categories of contents:
1. How did you shoot: A brief story of a shot explained in a narrative and informal way, targeted to Social Recorders, Hobbyists and Amateurs.
2. Tips: An image with a brief text targeted to Social Recorders and Hobbyists that explain in an entertaining and informal way a list of tips for a specific topic, with image to support
3. Tutorials: A piece describing a technique or a situation which according to the topic should be more or less technical. It should be narrative, fast pacing, with some tech talk. Use videos and pictures to support your text.
4. Reviews: A handy and informal review of any piece of equipment with pictures and a few charts.
5. Experience: It’s an emotional description of a travel, a shooting day or session, or of a single photograph. The tone of the communication should be narrative and informal, not much tech involved. Depending on the topic, it could be targeted from people who are just experiencing the shooting world to professional photographers.
All these contents have been planned with the support of the 2011 communication activities which will follow the school during all the MSoX educational plan.
The selected people will provide once a month from March until end of 2011 a content in one of the above categories.
In exchange of the contribution, Manfrotto School of Xcellence will provide as a gift a products’ kit. All contributors will be listed in the Tutors&Contirbutors space of the MSoX Website.
Applicants will be notified of the status of their contribution by e-mail. The notifications will be sent by Friday, 28th February
Submitting a proposal
To submit your proposal, just send a content of the category you have chosen and send it to: experience@manfrotto.com
Important dates:
From 26 January to 15 February: Call for contributors
From 16 February to 28 February: Contributors’ evaluation and communication of winners
From 1 March to 11 March: contributors test period
If you have any questions regarding submitting the contribution, please contact the following mail: experience@manfrotto.com
Michigan Tech Design Project 138: Microstructural Contribution to Thermal-Mechanical Fatigue Properties of Gray Iron Brake Rotors; Michigan Technological University Materials Science and Engineering Senior Design Project presented at the 2013 Undergraduate Expo
Find out more at Michigan Tech Expo: www.expo.mtu.edu/
March 19, 2014. Boston, MA.
Kick Butts Day 2014. Representatives from the Department of Public Health (DPH) today joined more than 250 young people from across the Commonwealth at the State House for the national observance of Kick Butts Day, recognizing the contributions of teenagers in smoking cessation and prevention efforts.
The young people participating in today’s event are part of DPH’s youth movement, The 84, which represents the 84 percent of young people in Massachusetts who don’t smoke.
High school students involved in The 84 have been educating their communities and their local lawmakers about issues relating to tobacco and, working with local health boards and other programs; have promoted effective tobacco prevention strategies in their communities. Members of The 84 Movement have been vital in fighting the way tobacco industry markets its products to youth.
© 2014 Marilyn Humphries