Faustus

The master thesis deals with finding Faustian motives, allegories, ideas, metaphors, and other tropes in Oscar Wilde’s novel The Picture of Dorian Gray. Christopher Marlowe’s Tragical History of the Life and Death of Doctor Faustus is taken as a representative of the Faust legend and it provides us with the plot and characters from the myth. The approaches used in this parallel study are from the point of view of hedonism, aestheticism, morality, and the theory of pleasure and pain as sovereign masters. Wilde’s eccentric life and attitude towards art were that of an aesthete, exalting l’art pour l’art movement, and this position is obvious in his writing. Therefore, biographical and historical criticisms are applied which is important to understand the novel completely. Apart from the most obvious theme of selling one’s soul to the devil which is present in both works, the characters in Wilde’s novel are also reminiscent of those in Marlowe’s play. Both Faustus and Gray want to break free from earthly limitations and are consequently punished for overreaching and exploiting the newly-gained powers. They both experience constant battle between good and evil within their souls but commit to sin in the end. Also, they are pure hedonists and aesthetes, devoted to always experiencing new sensations, but the pleasure is interrupted by sudden outbursts of pain and fear which prevent them from complete enjoyment. The reader will also see who possible demonic figures in Wilde’s novel are and what kind of influence they have on Gray. Finally, since the two stories could be considered as variations of morality plays, we will see what lessons they provide us with. In the end, this paper gives answers to questions such as to what degree the novel and the play are similar and what the characters from The Tragical History of the Life and Death of Doctor Faustus and The Picture of Dorian Gray have in common.
Key words: C. Marlowe, Faustus, Oscar Wilde, Dorian Gray, Faustian legend

The construction of ‘sorcerers’ in the Formicarius, Malleus Malificarum, Die Emeis and other treatises presented a comparatively impoverished imagery, whereas imaging the male victims of feminine witchcraft, like the harridan-ridden Aristotle, the mortified Adam, or the stable groom victimized by hippomanes, came near to approaching the affective, abject power of feminized witch iconography—which is to say, the naked and eroticized feminine body.  More importantly, descriptions of male witches in the Malleus were based on specific, formulaic or ceremonial acts and not on grand theories of Natural Philosophy, which painted pictures of polluted physicality or sexually corrupted essential nature. Passages dealing with elite, masculine magic tended to present technical, imagistically boring reading compared to the richer, more dramatically detailed, sensationalistic sections on witches. They feature as less dramatic subjects for visual interpretation with far fewer classical antecedents and a far less universal symbol set. The closest exemplars of masculine iniquity, or ‘pollution,’ were to be found in the tropes surrounding ‘cuckolds,’ Jewish males, and addictive, ‘Faustian’ magicians – men who had lost control to the devil or his prime agent, Woman. And even these tropes relied, for their effect, upon the assignment of ‘effeminate’ attributes and the emotive language of contamination or pollution. Male witches deemed culpable for the usual, feminine stamp of maleficium were figured as woman-like in that they were constructed as ‘weak minded,’ or as ‘fools’ subject to demonic delusions and folly

If you want to understand why 3 + 3 + 3 = 9
the discursive rhythm Dusapîn uses in the music of his Faustus
think of the witches in Macbeth

THE THREE WITCHES
The weird sisters, hand in hand,
Posters of the sea and land,
Thus do go about, about:
Thrice to thine and thrice to mine
And thrice again, to make up nine.
Peace! the charm's wound up.

A comprehensive exploration of Dr. Faust, the man who sold his soul to the Devil, and those who dared to tell his tale.

Volume 1 includes:
New insights into the life and times of the historical Dr. Faustus, the notorious occultist and charlatan who reputedly declared the devil was his ´brother-in-law´. A detailed study of the first Faust books and the popular Faustian folk tales.    Original discussions on Christopher Marlowe´s famous drama and his ´atheistic´ rendition of the Faustian myth, including new a unique and controversial  analysis of the A and B texts.  The days of the Faust puppet plays.  Gotthold Ephraim Lessing´s unfinished Faust drama.

SELECTED PAPERS FROM THE FIRST SOUTH AFRICAN CONFERENCE ON AUGUSTINE OF HIPPO, UNIVERSITY OF PRETORIA, 24-26 APRIL 2012. CONTRIBUTIONS BY JASON BEDUHN, JACOB ALBERT VAN DEN BERG, MAJELLA FRANZMANN, THERESE FUHRER, IAIN GARDNER, ANDREAS HOFFMANN, ANNEMARE KOTZE, JOSEF LOESSL, JOHANNES VAN OORT, NILS ARNE PEDERSEN, GIJS MARTIJN VAN GAANS

Jan Svankmajer’s cinematic animation of puppets and use of life-sized puppets renders a situation where animated objects have a dominant function that is separate from their pragmatic function. This plurality of function constitutes dynamic characteristics for the object whereby the object has an ambivalent status at the semiotic level – the object can also be a subject. Cinematic animation and cinema specific properties and techniques such as editing, framing or superimposition foreground this plurality of an object’s function by altering its spatiotemporal context and allowing it to be liberated from its recognition as a prop of the mise-en-scene. The Faust tradition foregrounds the plurality of function for the object most near and dear to us – our bodies – when Faust challenges the supernatural world into manipulating the body’s natural relationship with the course of time. Svankmajer’s Lesson Faust (1994) adeptly negotiates the complexities of a discourse on the dramatic and semiological process of objects becoming subjects (and vice-versa) while foregrounding the ambivalence surrounding such ‘transformations’. Cinematic animation (technological), puppets (material) and the Faust tradition (narrative) can each be demonstrated as modes of presentation which actively endow objects with dominant functions separate from their pragmatic function thus creating ambivalence for the object at the semiotic level.

*Academic Book Review*

Jan Svankmajer – Dimension of Dialogue/ Between Film and Fine Art ed. Frantisek Dryje and Bertrand Schmitt. Revnice: Arbor Vitae, 2012. 508 pages. $49.95, paperback.

Excerpt:

The most interesting piece is perhaps a short essay entitled, On the Authenticity of Art, where Svankmajer suggests that authentic works of art are those that come closest to the work of nature and that each conscious intervention by humans threatens the authenticity of the work. Svankmajer claims that the most authentic works of art are automatic texts, such as cave drawings. This piece is revealing as Svankmajer comments that his intention as an artist is to ‘fossilize’ artefacts of civilization. In this respect there is a great tension between Svankmajer’s engineering artistic efforts as totally inauthentic with his production of artistic artefacts which have the quality of being authentic fossils of civilization.

In 1833, the year prior to his death, Coleridge stated that ‘I never put pen to paper as translator of Faust’, but Burwick and McKusick believe that he did just that.11 The editors’ account of Coleridge's alleged translation of Faust has divided critics of the Clarendon book. Susanne Schmid, for example, reports ‘the editors offer overwhelming evidence’ that convinces her that the ‘author is extremely likely to have been Coleridge’ (Schmid, 1–2), while Paulin et al., refuting the ‘discovery’ of a work by Coleridge, conclude that ‘this volume is not what it appears to be’ (Gentleman, 31). I am sympathetic with both positions, but I agree mostly with Paulin et al.: while the claim that Coleridge authored Faustus is enticing, and is backed by a lengthy critical introduction, scrutiny of the evidence presented compromises the editors’ hypothesis.

The article focuses on the Catalan theatre group La Fura dels Baus's works on the myth of Faust. The analysis is based on the drama F@ust versió 3.0 (1998), the free adaptation of Berlioz's La damnació de Faust (1999), the cyber show Faust Shadow (1999), the movie Fausto 5.0 (2001) and the opera staging of Gounod's Faust (2014). In its interpretations of the myth, the group recreates it in different artistic dimensions: drama, cyber theatre, lyric opera, cinema. Nevertheless, the study of these productions demonstrates that all of them share some common basic elements: the multifaceted personality of the protagonist, his fragmented perception of himself and reality, a postmodern vision of the Self and life. At the same time, La Fura deepens its investigation on theatre/performance and technology, reaching impressive and groundbreaking results.

In lieu of an abstract, here is a brief excerpt of the content:
When Czech filmmaker Jan Švankmajer released his film adaptation of the Faust legend in 1994, it was the culmination of a longstanding fascination with the story. His first screen credit was as a puppeteer on Emil Radok's short film Johannes Doktor Faust (1958), made during his time working as a director and designer at the Czech State Puppet Theatre. He had also staged a masked theatre production of Faust in 1962 for the Semafor Theatre in Prague. In the early 1980s, he attempted, unsuccessfully, to restage it at Prague's Laterna Magika, following his state-imposed ban from filmmaking (1972-79), after which he was permitted to work only from officially approved literary sources. By the time he came to make his own feature film version, the long-gestated project had come to encapsulate many of his aesthetic attitudes, as well as his relationship to his home city of Prague. As Švankmajer explained to Peter Hames in 2006:

"When any civilisation feels its end is growing near, it returns to its beginnings and looks to see whether the myths on which it is founded can be interpreted in new ways, which would give them a new energy and ward off the impending catastrophe. The myth of Faust is one of the key myths of this civilisation, and its interpretations are numerous. My Faust is intended to be one of these interpretative returns. I believe that Faust is one of the basic morphological or archetypal situations in which both individuals and civilisations find themselves. Sooner or later, everyone is faced with the same dilemma—either to live their life in conformity with the misty promises of institutionalised 'happiness', or to rebel and take the path away from civilisation, whatever the results. The second path always ends in individual failure, while the first ends in the failure of humanity as a whole. Or is it the other way round? The ambivalence makes no difference when it comes to the tragedy of human fate." (quoted in Hames 122)

Correspondingly, his film, Lekce Faust (although it was released as simply Faust in most territories, this full Czech title translates literally as A Faust Lesson, implying a reflexive examination of the legend itself ) is both a combination of multiple tellings of the story and a highly personal response, lodged firmly in the material realities of contemporary Czech culture. It therefore represents not an authoritative transliteration of a singular Faustus-text into the medium of film, but an indirect thesis on the contingencies of authorship, the chaos of interpretation, and the impossibility of direct adaptation.

It is certainly true that the Faust story has proven to be endlessly malleable for adaptation, appropriation, and revision across all media. The durability of the Faustus story is matched only by the sheer variety of media containers into which it has been poured. Švankmajer's Faust intervenes in this cacophony of retellings by functioning as a stylistic and semic pile-up of references. We are instructed to read the film as an assemblage of visions from different registers and sources, as opposed to an assimilated, re-authored composite that might ordinarily characterize a straightforward film adaptation. As a result, the film is a true chimera, refusing to blend its many textual and historical tributaries into a single stream of influence or definitive interpretation. In order to map some possible routes through this labyrinthine film, this essay first explores the ways in which Švankmajer relates the Faust legend to Prague through references to the story's historical and textual relationship to the city, including forms of folk puppetry and marionette theatre. This leads, via the figure of the puppet, towards an analysis of Švankmajer's use of animation as a way of representing the contested Faustian body as a site of violent conflict and social subjection. [...]

A “Coleção Mitos da Pós-Modernidade”se propõe a pensar o imaginário do mundo contemporâneo, enfatizando o caráter transdisciplinar desse tipo de pensamento e priorizando diálogos com a educação na atualidade. O mito de Fausto, terceiro volume da coleção “Mitos da Pós-Modernidade”, na sequência de O mito de Frankenstein e O mito de Drácula, estabelece as relações entre as origens do mito, suas manifestações nas artes (literatura, cinema, ópera) e seus desdobramentos filosóficos em seis capítulos que têm como horizonte a atualidade do mito nos tempos que correm. Símbolo do progresso moderno, Fausto encarna o desejo de imortalidade e de eterna juventude. É um homem das ciências, mas também da magia. Ao negociar sua alma com o diabo, torna-se o artífice de sua própria danação. E conquanto tenha influenciado fortemente o imaginário renascentista e romântico, segue vivo na contemporaneidade, hermeneuticamente atualizado e ressignificado sob diversas perspectivas.

A unique, in-depth account of the genesis of Johann Wolfgang von Goethe's masterpiece, Faust, Parts One and Two.  An examination of the early sketches of his classic drama.  Includes detailed explanations of Goethe's hidden symbolism in the text, his interest in history and science, the occult, alchemy, Freemasonry.

Abstract: Something is rotten in the kingdom of healthcare. Due to the ‘dreams of reason’ in our current scientific and technological phase of development, we have finally confused the ‘machine’ for the ‘mechanism’. The immense theoretical and technical advances celebrated by science are being followed by pandemic increase in mental diseases, overdoses, violence, wars, genocides, excessive economic exploitation and destruction of communities, destruction of animals and plants in an unnecessary and pathological way. The pharmaceutical system is appointed as the main solution, however its exorbitant profits plus a ‘drug culture’ seems to be implicated in the causation of good part of contemporary public and community health challenges, the so-called socio-economic determinants of health. This “Promethean” or “Faustian” mental/cultural syndrome/behavior is known to our traditions for generations, as described by Goethe in the 19th century, but never at such a planetary scale. We bring into light some proposals and concepts constructed first in my own medical and scientific practice in the last 20 years, influenced by and in reference to different authors in contemporary and historical science, showing that this problem has been identified and overcome before by Pille Bunnell and Humberto Maturana, passing through Spinoza, Freud and back to Hippocrates. We hope this may bring some reflection on the social mission and ethical compromises of the medical profession in responding to the community mental health crisis we have gotten into.

La critique de la rationalité du savoir à laquelle Kant se livre dans la Critique de la raison pure révèle un dédoublement (nous soulignons volontairement l'idée du double) entre le domaine transcendantal et la pratique empirique. Rien n'est à la fois condition et objet de la connaissance. Mais c'est avec sa seconde Critique que Kant déplace définitivement le champ de la rationalité : du savoir vers le vouloir, de la théorie vers la pratique. La métaphysique n'est pas un domaine contemplatif, mais une activité rigoureuse, une action de la pensée. La métaphysique devient avec Kant une sorte d'« intelligence du savoir ». Il produit un déplacement d'une première tension dialectique vers un principe méthodologique autre : le savoir n'est pas une accumulation mais la nécessité d'une action, et d'une bienveillance envers son principe. Or, s'il est un avatar littéraire qui est le théâtre de ce déplacement, c'est bien le héros du mythe faustien. En effet, Faust, alchimiste allemand de la modernité, se lasse des limites théoriques de sa connaissance de Dieu et de la magie. Il cherche à en acquérir une connaissance que nous dirions aujourd'hui intuitive ou, reprenant le découpage kantien, empirique. Faust est la figure du savant que la sapience ne parvient plus à rassasier : convoquant le diable, il se précipite au-devant de toute occasion propre à déplacer le champ de la rationalité : du savoir vers le vouloir – et l'acquisition –, de la théorie vers la pratique – et la jouissance.

Comparing the portrayals of three magic-users - Prospero, Sycorax, and Faustus - found in Shakespeare's The Tempest and Marlowe's The Tragical History of Doctor Faustus, this paper asserts that magic is a symbol of higher learning.  During the Renaissance, whether this pursuit of knowledge was condemned depended upon one's sociopolitical position.

XXII
Franz Liszt’s arrangement of Maria Pavlovna’s Lied “Es hat geflammt” and large-scale structures in Liszt’s Sonata in B minor and Faust-Symphonie
by Tibor Szász
© 2018, Hermann, www.editions-hermann.fr
ABSTRACT
The Grand Duchess Maria Pavlovna Romanova (1786–1859) was not only Franz Liszt’s patron, but also received musical instruction from him. In previously published research, Tibor Szász has shown that Liszt used the melody of one Lied by Maria Pavlovna in his fourth Consolation
and in the Sonata in B minor.1 A study by Martin Adler, Tibor Szász and Gerard Carter has subsequently demonstrated that the same Pavlovna melody was also featured as opening theme in Liszt’s final revision of his Petrarch Sonnet no. 47 (“Benedetto sia „l giorno”) published in 1883.2 A
comprehensive study on the Liszt Sonata was published in the Journal of the American Liszt Society.3
Liszt’s arrangement of a different Pavlovna Lied titled “Es hat geflammt” was probably rendered during Pavlovna’s study with Liszt in 1848–49. Although the original Lied of Pavlovna has not survived, Szász identified its lyrics as those of the poem Die Brautnacht by Wilhelm Müller (1794–
1827), the same poet who inspired Franz Schubert’s Lieder cycles Die schöne Müllerin and Winterreise.
In the present article, Szász unveils evidence which suggests that Liszt’s arrangement was definitely intended for a publication which unfortunately never came to fruition. The three autograph manuscript pages by Liszt are reproduced in facsimile and complemented with a first edition by Tibor Szász.
Liszt’s arrangement of the Pavlovna Lied “Es hat geflammt” is an important document as it appears to summarize the essence of Liszt’s instruction to Maria Pavlovna. Although Pavlovna’s autograph manuscript is not available for comparison, internal evidence suggests that the Lied’s melody, harmonies and rhythms were authored by Pavlovna, while the pianistic idiom of the Lied proper, and its prelude and postlude, were composed by Liszt.
Liszt’s original prelude and postlude provide a “key” to unlocking the large-scale structures of his B minor Sonata and Faust-Symphonie. The use of scale degrees 6, 5, 1 heard as opening bass pitch pattern in Liszt’s Lied arrangement constitute, in a nutshell, the basic tonal pillars of the opening themes of the Liszt Sonata and Faust Symphony. Szász also argues that the thirteen-note theme (!) of the Faust-Symphonie may have been inspired by Schubert’s “Szene aus Goethes Faust”, D. 126b, and by
the Symbol of the Macrocosm mentioned in the opening monologue of Goethe’s Faust.
Tibor Szász, an internationally acclaimed pianist and scholar, has done extensive studies on Liszt, Mozart, Beethoven, Bartók and Enescu. He was born in Transylvania (Romania) to Hungarian parents, and studied with Eliza Ciolan, a pupil of Alfred Cortot, before going to the USA. He holds a Doctor of Musical Arts degree from the University of Michigan. Szász has been professor at Duke University, Bowling Green State University, University of Dayton and, since 1993, Professor of Piano at the Hochschule für Musik, Freiburg, Germany.
1 “Liszt’s Symbols for the Divine and Diabolical: Their Revelation of a Program in the B minor Sonata,” Journal of the
American Liszt Society 15 (June 1984), 35–95.
2 See Martin Adler (with Tibor Szász and Gerard Carter), “Franz Liszt and Maria Pavlovna Romanova: An Homage
to the Grand Duchess in Liszt’s Petrarch Sonnet No. 47,” Journal of the American Liszt Society 66 (2015), 23–33.
3 Tibor Szász (with Gerard Carter and Martin Adler), “Towards a New Edition of Liszt’s Sonata in B Minor: Sources,
Editorial History, Symbolic Issues”, Journal of the American Liszt Society 68 (2017), 57–108.

Avrupa kültürünün en etkileyici tarihsel figürlerinden biri olan Faust'u önemli kılan sadece şeytan ile yaptığı sözleşme ve sonucunda Hıristiyan etiğine uygun düşen bir şekilde cezalandırılması değildir kuşkusuz. Yazılı-sözlü, tüm Faust geleneğinin temelini oluşturan ve 'Tarihsel Faust' olarak anılan, Johann Georg Faust (1480-1540), simyacı, sözde hekim-şarlatan, büyücü, gezgin vb. aykırı kimlikleri kişiliğinde toplamış 'tutkulu' bir şahsiyettir. Önemli bölümü 16. yüzyılda geçen yaşamı, gelecek yüzyılların yükselen öğrenme-keşfetme isteğine, giderek bir adeta tutkuya dönüşen gem vurulamaz curiositas arzusuna erken bir örnek teşkil eder. Eski Kıta'da 15. ve 16. yüzyılların yükselen değeri haline gelen curiositas'ın insanlık tarihi açısından ne denli ufuk açıcı sonuçları olduğu aşikârdır. Ancak, en azından Tarihsel Faust'un ve giderek diğer Faust figürlerinin, erken bir Aydınlanmacı geleneği temsilen 'merak' boyutuyla anlaşılmadıklarını, diğer bir ifadeyle figürün bu önemli boyutunu tarihçilerin ıskaladığını biliyoruz. Anonim bir eser olan Historia von D. Johann Fausten (1587) her ne kadar birebir Johann Georg Faust'un yaşamı üzerine inşa edilmiş bir eser olmasa da Tarihsel Faust'tan önemli izler taşıdığını biliniyor. Ben burada, tarih yazınında Historia olarak anılan Historia von D. Johann Fausten'in 23. bölümünü Türkçeye aktarmaya çalıştım. 16. yüzyılın son çeyreğinde (1587) yayımlanmış bir eserin Türkçeleştirilmesinde, değişim halindeki bir dilin (Almanca) 2 ifade gücünü yakalayabilmenin ötesinde başka zorluklar da söz konusudur; diğer bir ifadeyle sorun sadece ortografik düzeltmelerle sınırlı değildir. Historia 16. yüzyılda yaygınlaşan popüler (halkçı) edebiyatın çok sayıda örneğinden biridir. Volksbücher (Halk Kitapları) olarak anılan bu metinlerin dilleri sıradan okurun anlayabileceği bir sadelikte olmakla birlikte; içeriklerini cazip kılabilmek amacıyla çok sayıda dinsel-mitolojik ve mucize edebiyatına (Wunderbücher) ilişkin unsurla adeta tıka basa doldurulmuş; uzun cümleler anlam kaybı gözetilmeksizin 've', 'ile', 'hem', 'veya' 'ya da' bağlaçlarıyla bölünmüştür. Seçilen bazı kelimeler (tüm Volksbücher ve Wunderbücher'lerde olduğu üzere) yazı dilinden çok sokakta konuşulan yerel lehçelere özgüdür ve görselliğe uygun düşen bir ifade tarzının yazıya dökülmüş hali gibidir. Historia'nın aşağıya aldığım bölümünde [23] benliğini kiraladığı şeytan ile 24 yıllık sözleşmeyi imzalamış Doktor Faust'u Belial liderliğinde ziyarete gelen cehennem ruhlarının kendilerini tanıtmaları ve yaptıkları gösteri anlatılır. Bu bölümde kara büyüye uygun düşen yönüyle modern cadı konseptinin en önemli unsurlarından biri olan hayvana dönüşme (Tierverwandlung) miti yer almaktadır. Historia'nın tümü incelendiğinde şeytanla işbirliği-sözleşme yapılması, zararlı-kara büyü, kara büyü ayinlerine katılım, hayvana dönüşme, gece uçuşları/yolculukları, ölülerin dünyasıyla ilişkiye geçme ve geleceği okuma/fal bakma gibi modern cadılığa ilişkin çok sayıda unsurun yer aldığı 1 Historia von Doktor Fausten ve genel olarak 'Faust' miti hakkında giriş niteliğinde bilgi için [https://independent.academia.edu/HaydarAKIN] platformunda yer alan metne [https://www.academia.edu/32215472/Historia_D_Johann_Fausten_Tarihsel_Fausttan_Faust_Mitine_I_Giris_] bakılabilir. 2 Orta Yüksek Almancadan (Mittelhochdeutsch) Erken Yeni Yüksek Almancaya (Frühneuhochdeutsch) geçişin yaşandığı yüzyıllar.

SVOBODOVÁ, Z.: How can the legend of Faust speak to people today? Studia Aloisiana 1/2021. The present text examines Patočka's texts on the Faust theme, together with Havel's play Temptation. It seeks inspiration from elaborating the Faust theme for a person who desires an understanding of himself (herself), of others and the world. A comparison of the Faust saga's various adaptations seeks a version of the Faust legend and its participation in the truth of man, the history of the world and life. The text's primary purpose is to show not only how the Faust legend can speak to a person at all. However, above all, how this legend can speak to people today and whether this speech implies something essential for human education at this time.

Cet article se consacre à l’étude des relations entre la création du Faust de Valéry et les notes de son cours de poïétique donné pendant la Seconde Guerre. On y verra que les dilemmes de la fiducia politique et de la science moderne en cours d’élaboration dans ces deux chantiers d’écriture rejoignent l’hésitation prolongée dans son effort d’échapper aux contraintes fiduciaires et techniques de la vie moderne. Valéry souligne ainsi la nécessité de repenser le mythe de Faust en circulation dans le champ littéraire, et de bien réfléchir sur les monnaies, les effigies et les valeurs faustiennes en cours dans la communauté européenne.

... 2 No.1, 2010, pp. 29-41 JJMLL Marlowe's Doctor Faustus: A Postcolonial ReadingSamira Al-Khawaldeh ... (II.i.552–558) Significantly, it is Mephistopheles the devil (satanic source) that hands him such a volume on the natural sciences. ...

This paper argues that Marlowe's Doctor Faustus incorporates multiple degrees of domination that include the acquisition of subjectively intentional knowledge closely connected to colonialism. The dramatic text reveals the imperialist, colonialist tendencies in their beginnings

The material dialectic put under the scrutiny of deconstruction. Dialectics and semantics used to outline a method and trace of thought to unify modern and postmodern pieces of theory towards a logic of composition, architectural or otherwise.

Tomando en cuenta el texto de Friedrich Hegel, elegí la escena de Fausto donde Mefisto transforma a un Fausto viejo y cansado en uno joven y bello. Hegel nos dice que las bellezas de la naturaleza no se comparan con las bellezas creadas por el espíritu humano. Y si bien Mefisto no es un espíritu humano, sí es un ser con conciencia que altera la naturaleza para crear algo bello. Y es que, si Fausto fuera guapo de naturaleza, no sería tomado como ser divino para los demás. Podemos decir entonces que Fausto se convierte en la obra de arte del mismo demonio.

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Jacques COULARDEAU  p. 255
Du temps historique au temps spirituel : Hanay Geiogamah et la renaissance indienne

Jacques COULARDEAU  p. 339
        Faust de Goethe d’Edmond Rostand, une création de Philippe Bulinge

The study analyzes the literary opus of dr. Joža Lovrenčič (1890–1952), a Slovenian poet, writer, translator, and classicist. Pointing out several details in his curriculum vitae, it deals primarily with his affinity for Graeco-Roman antiquity. A case in point is one of his early works, a story entitled Between Scylla and Charybdis, as well as his epic poem The Scholar from Trenta (1939). The Scholar from Trenta, in particular, employs a series of allusions as well as quotations from classical antiquity. It often blends Slovenian with Latin, sometimes changing the idiom completely. The literary style in these passages can be best described as macaronic Latin.

This is one of a number of pieces covering events at the Edinburgh International Book Festival, which runs from 9th–25th August 2014 at Charlotte Square Gardens, Edinburgh.
Carol Ann Duffy and John Sampson performed at the Edinburgh International Book Festival on 9th August 2014.