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"Why mothers cry at weddings" is an illustrated collection of aphorisms published by the Austrian artist and philosopher Herbert Galehr. Most of the authors are psychologists, but a Swiss pastor, a registrar from Lower Austria and a pastor from Hamburg have also contributed aphorisms. The illustrations of this entertaining and contemplative little book come from the publisher himself. www.galehr.at
John argues that shifting the focus from the text to the efficacy of performance requires broadening our concept of performance beyond what occurs on stage and its critical reception to include the daily life of the society that provides its context. It follows from this semiotic approach that there can be no fixed text or understanding of Egmont or of Goethe himself - only multiple images. John's exploration of image includes literary motifs, acting, staging, and social role playing, with particular reference to Goethe's development as an artist and cultural icon. In addition to presenting a comprehensive analysis of the play and a discussion of Egmont's reception from its first appearance to the present (including productions on both stage and screen), John provides an in-depth performance analysis based on the theories of Alter, Burns, Carson, Fischer-Lichte, Goffman, Pavis, and Schechner. The book includes the complete Mannheim manuscript (M372), critically edited and published as a performance text for the first time.
Am Beispiel des schwäbischen Kreis- und Reichsstandes Hohenems, der im Wesentlichen aus der Reichsgrafschaft Hohenems und dem Reichshof Lustenau bestand, wird das Funktionieren eines Kleinterritoriums im Rahmen des Heiligen Römischen Reiches untersucht. Im Zentrum steht dabei die Frage, ob und wie die defizitäre Staatlichkeit dieses »Zwergterritoriums« durch den Schwäbischen Reichskreis ergänzt wurde. Außerdem werden das Konzept des »komplementären Reichsstaates« und die Frage der »Symbolsprache« des Heiligen Römischen Reiches überprüft.